Presented to the
of Music Library
by
VX^TT TC T/^
0f MUML,
UNIVERSITY
OF TORONTO
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MUSICAL THEORY. 3. 6rf.
The main divisions of the work are five ; the Common Scale
and Time, the Minor Mode and Transition, Musical Form,
Expression, and Harmony.
TIIE TEACHER'S MANUAL. 5*.
The Art of Teaching in general, and especially as applied to
Music. ,
HOW TO OBSERVE HARMONY. 2*.
The whole series of chords employed in Modern Musin is
described in progressive order, and by the use of biiigle chants
car 1 1 in shown in its common connection.
THE STAFF NOTATION. 6c/.
A Practical Introduction, on the principles of the Tonic Sol-fa
Method.
HOW TO READ MUSIC. 1.
Teaches Sight-singing by the Tonic Sol-fa system, then applies
the knowledge gained to the Staff Notation, and teaches that
thorough!/.
THE
STANDARD COURSE
OF LESSONS AND EXERCISES
8J0rrijc
(FOUNDED ON Miss GLOVER'S "SCHEME FOR RENDERING PSALMODY CONGREGATIONAL," 1835)).
WITH
ADDITIONAL EXEECISES.
BY
JOHN CUEWEN.
TENTH EDITION.
Uontton :
J. CUEWEN & SONS, 8 & 9 WARWICK LANE, E.G.
PRICE THREE SHILLINGS AND SIXPENCE.
Entered at Stationers' Hall. The right of translation reserved.
1892.
NOTICE
Several friends have said to me " why do you not
arrange your book in lessons ? It would be so
convenient for us, every time we go to our class,
to know exactly how much and how little we have
to teach." I would gladly have done this ; but
the different capacities, tastes, and circumstances
of our pupils make it impossible. A School lesson
and a lesson to an Evening class, a Reformatory
lesson and a College lesson, differ exceedingly
both in the manner of teaching and in the number
of things which can be taught. I can only pro-
vide a general method, some points of which are
essential and some non-essential, leaving the teacher
to adapt this method to the particular class he has
to deal with. Such topics as Harmony, Pronuncia-
tion, Musical Form, Voice Training, and the difficult
parts of Time, Tune, and Expression may, however
important, be reckoned as non-essentials, and will
have to be omitted in many classes.
Although I could not fix the exact amount of
instruction and exercise which every class can
receive lesson by lesson, I have divided the method
into Steps. By a step I mean a certain stage of
the pupil's progress at which he is expected to stop
and examine himself, and bring the different divi-
sions of his labours (tune, time and expression)
abreast of one another. This is what is called, in
the counting house, "taking stock," in the House
of Commons, " Reporting progress." It is ascer-
tained that ordinary students do learn a certain
proportion of each branch of the subject con currently,
and this proportion is given as nearly as possible in
each step. One-sidcdness of study is most danger-
ous and miserable to the student. A clever reader
of tune who cannot keep time is constantly finding
himself wrong, and annoying his neighbours, and
a good timeist who is often singing out of tune feels
himself to be unsatisfactory, and often stops the
class to get his errors corrected. The steps, with
their amplitude of questions at the end, enable all
the members of a class to march together, to keep
step.
But the Lesson is a different thing from the Step.
- A very dull class may require three or four lessons
before they finish the first stage of progress and
bring themselves up to the mark distinctly drawn
by the examination at the close of the first step.
Rarely have we found classes so quick and ready
that they can accomplish the first step at a single
lesson. The teacher studies the kind of class he is
about to teach, and draws out the plan of his lessons
accordingly. Until he knows his class more per-
fectly he will seldom be able to do in a lesson
exactly what he had planned to do, but be always
goes to his class with a plan, having chosen the
exercises to be done, and having anticipated in his
own mind and pictured to his imagination, the
blunders he will be required to correct, and the
brief verbal explanations he will be expected to
make.
When a new topic is introduced, it occupies a
larger portion of time than the other topics, and
may at first do this even to the exclusion of others.
But directly a subject has reached the "wearying
point " in a class it must stop, even if it has occu-
pied only a short time. At first the chief care will
be given to the subject of tune, and not until the
attention of the class gets near the wearying point,
does the teacher introduce the first elements of time,
as a variety. When the association of syllable
and interval in d m s is fully established, and not
till then, will much attention be given to the earlier
time names. It is not wise to introduce a great
number of neiv topics in one lesson. The Voice
exercises should occupy a brief portion of each lesson
at its opening. On all teachers, taking up our
Method, I urge faithful attention from the begin-
ning to three things the Pattern the Mental
Effects, and the preparation for Certificates. The
experienced teacher knows how to arrange the
topics of his class, how to pass promptly from one
to the other, how to keep up the interest, and how
to secure an even progress in all the branches
of study. For the inexperienced teacher, I have
gathered together all the helps I could think of,
in the " Teacher's Manual of the Tonic Sol-fa
method."*
Plaistow, 2nd July, 1872.
* Price Five Shillings.
JOHN CURWEN.
a 2
TUNE.
Absolute pitch and pitching tiuies^ 3,
Key relationship ^
Octaves .; .' go
Mental effects -;;:}' 4 ' 15> 2
Speed of movement and ditto >
Names and signs - R 3 ' 7
Pattern - ; .
Solfaa-ingand l**-*8 " '
Modulator ...v, 8, 8, 11, 12, 24,
Manual signs
Ear exercises
The scale
^
] v - ^
*^' ^.
"'
. ~
Perception of Transition ......... 49, &o
Distinguishing tones of 1st remove .
INDEX OF TOPICS,
Repeated and prolonged tones 99
Melodic imitations and marked en-
trance luo
Subordination of parts and accom-
paniment
Imitative sounds
Tones congenial to the sentiment or
spirit of the tune 1, iv*
Rapid passages -
Effect of theExplosive and Pressure
tones and the Legato & Staccato
styles
Unison, "Cadence, Distinguishing
tones J"
Dissonances ^-^""M
of words. Effect of
Mental effect of transition ..^'Jl
The second remove "' "
Chromatic effects
Cadence transition
Agility, strength, and downward
extension 151, 1W
HARMONY.
A chord
Relation of chords D & 8 20, 27
The common intervals 21,36
Positions and Constitutions of
chords 2 ?-' 27 '* 8
Dissonances and their resolution 21,
36,69
Chord 4S and doh against ray ... 21,27
Chord "S, fah against soh, and the
partial dissonance 36,46
Relationship of F with D and 8,
ambiguity ;" 4 , 5 ' *j
Chords major, minor, or diminished
Chord RAH and grave ray
Chords T, L, M, and 7R 46, 47
Mental effect* of Chords 47
Cadences 48 ' 62>
Apologies for dissonance .
PRONUNCIATION.
plying transition S I Collective reading Q l 5 'l ti I Sbffomatfc chords and their resolu-
Extended transition Recitation on a monotone 35, 36, 4., tifm ....-.- "i" 5
Memorizing adjacent keys ...... 60,T7 59,82
Themodes ' <' ? The Consonants or articulation* ,,
The modern minor ' 5
The Grave ray .-v:::"" ! Importance of the Glide, in singing
Modulation and transitional ditto.. 88 C {, ngonant 8
The third remove ** Order of accents in speech and
--*- -i- I Preparing recitations 35, 59, 63, Jd,
The Vowels, their mechanism, aad
dialectic varieties 136 to 1
The Dipththongs 1*2 to
TIME.
Accent, pulse, measure 6, 7, 18,
Chord relation in the Minor mode
MUSICAL FORM.
General principles and divisions of
melody
The Parsing of melody 70
Relative motion of parts and imi-
86
LM
Continued tones and half pulses ...
Silent pulse. Pulse-and-a-haif tones
Quarter-pulse tones
'pulse tone P Two quarters and
a half. Half and two quarters.
Good klang and quality
Svnconation ^i"."i i"
Silent quarter-pulse. Thirds of a
Sixths? Eighthsi "ktatihi"*,'of
pulse :
Time ear exercises .-...
Rate of movement, sustaining and
remembering it 83, 34, HO
11"
EXPRESSION
Breathing for the sense
The normal force of a piece..
Type marks for expression of
General principles ....... ^"IvJ!?
Tees of Force, with their
binatiou and modes of de-
.. 16
80,98
VOICE TRAINING.
156
2
"{, 2, 3, 14, 26,
46, 81, 95
Control of breath... 2, 3, 14, 26, 45, 81
Breathing Places '
Tuning of voices together 1 . ^ ^
/, 29. 106, 109
Compass tflft 107
The Registers 32,6b 1 iw
Thin Register
Thick Register
Small Register lu
Voice Modulator.....
Examination of voices ... 81,
Blending of Registers .-
Optional tones &> }J
Boys' voices o an 81 108 109
Flattening \\
Choral contrivances *
tations
Parsmg fugal passages
Hounds -"
Chants 35, W, s*
The Response, Chant, Hymn Tune
144,146
, 1 ^ 6to 148
,,rioandCan-
Uta .................................... 148 ' 148
Chorus
The Canon and Fugue ..._...
Recitative, Opera, Oratorio i
NOTAT ION .
Of tune and octaves .............. 5, 29
Of accent and measure ........... i
Of vocal parts and musical sections
Of repetition ...... ........ .. ..... ......... I
Of sounding and silent pulses and
theirparte ............... 6,7,18,34,64
as
The
swell, appogiatura, turn 160. 161, ^
Training in class 160,151
Of rate of movement
Of chanting
Of transition
Of registers ~
Of the minor mode > '
Of expression ", 96, <
Of consonantal sound* Ji
Of vowel sounds
Writing exercises " ""i
FINQER-SIG-NS FOE TIME,
AS SEEN FROM THE PUPIL'S (NOT THE TEACHEB'S) POINT OF VIEW.
8AA.
SAATAL
Tiii
MENTAL EFFECTS AND MANUAL SIGNS OF TONES IN KEY.
NOTE. These diagrams show the hand as seen by pupils sitting on the left-hand side of the teacher. Ihe
teacher makes his signs in front of his ribs, chest, face, and head, rising a little as the tones go tip, and falling
at they go down.
FIRST STEP.
SECOND STEP.
THIRD STEP.
The GRAND or bright tone, the Major
DOMINANT, making with Te and Kay the
Dominant Chord, the Chord S, and with
Fah also the Chord 7 S.
TE.
The PIERCING or sensitive tone,
the Major LEADING TONE, making
with Baya.nd.Fa h the weak Chord T.
LAH.
The SAD or weeping tone,
the Major SUBMEDIANT,
making with Doh and Me
the Chord L.
ME.
The STEADY or calm tone, the
Major MEDIANT, making with Soh and
Te the rarely used Chord M.
DOH.
The STRONG or firm tone,
the Major TONIC, making with
Me and Soh the Tonic Chord,
Jhe Chord D.
RAY.
The HOUSING or hopeful tone, v A TJ
the Major SUPERTONIO, mak- rAH.
ing with Fah and Lah the Chord The DESOLATE or awe-inspiring
R, in which case it is naturally tone, the Major S UBDOJIINANT,
eung a comma flatter, and may making with Lah and Doh, the Sub-
be distinguished as Rah. dominant Chord, the Chord F.
,% For fe let the teacher point his first finger horizontally to the left. For ta ditto to the right.
"When seen by the class these positions will be reversed, and will correspond with the Modulator. For
e let the teacher point his forefinger straight towards the class.
NOTE. These proximate verbal descriptions of mental effect are only true of the tones of the scale when
tung slowly when the ear it filled with the key, and when the effect is not modified by harmony.
MENTAL EFFECTS AND MANUAL SIGNS OF TONES IN KEY.
SECOND STEP. FIRST STEP. THIRD STEP.
TE.
The PIERCING or sensitive
tone the Major LEADING
TONE, making with Ray and
Fah, the weak Chord T.
RAY.
The ROUSING or hopeful tone
the Major SUPEETONIC, mak-
ing with Fahand Lahihe Chord
R in which case it is naturally
sung a komma flatter, and may
be distinguished as Rah.
The
GRAND or
bright tone
the Major
DOMINANT,
making with
Te and Ray
the Domin-
ant Chord
the Chord
S, and with
Fah also the
Chord S.
ME.
The STEADY or calm tone the Major
MEDIANT, making with Soh and Te the
rarely used Chord M.
DOH.
The STRONG or firm tone the Major
TONIC, making with Me and Soh, the
Tonic Chord, the Chord D.
LAH.
The SAD or weeping tone
the Major SUBMEDIANT, making
with Doh and Me, the Chord L.
FAH.
The DESOLATE or awe-in-
spiring tone the Major SUB-
DOMINANT, making with Lah
and Doh, the Subdominant
Chord the Chord F.
TA. SE. ' FE.
NOTE. These diagrams show the hand as seen ly the pupil, standing in front of the teacher.
The proximate verbal description of mental effect are only true of the tones of the scale when
sung slowly ivhcn the ear is filled with the key, and when the effect is not modified ly harmony.
TONIC SOL-FA TIME CHART.
d 1 T f
BY JOHN CTTEWEN.
: :
(Copyright.)
t .
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Wholes. Halves. Quarters. Thirds.
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Eighths. -11111111 Sixths. -11 11 t 1
.11,11.11,11 3 accents. 1 1 <1 1 <1 1
2 *, i me
tanafanatenefene tafatefetifi
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re
Ninths, .ifl ifl ]\] Sixths. 1 1 1 1 f 1
.lll ( lll ( lli. 2accents. ** .111
taralatereletirili ' taralaterele
W
as * ; : 1
r rahfay -
NOTB. " Ai" i? pronounced as in maid, fail, &c. "Aa"
H
se,
** de
is pronounced as in father, "a" as in mod, " e " as in ld,
and "i" as in lid. These time-names are copied from
s, .
doh
11. Paris' s " Langue des durees." The minute divisions
: :
are seldom used except in instrumental music. In the
ba,
, -
Tonic Sol-fa notation we often write two measures in the
place of one in the common notation, thus expressing the
*|
ta,
accent more truly.
The flats of the scale, ta, la, ma, ra, are pronounced taw,
m.
^1 $
law, &c. ; and the sharps, de, re, fe, le, are pronounced
dee, ree, &c. Ba (the sharp sixth of the minor scale) is
pronounced bay.
se.
St. Co.
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DOH=Gb Dl> At>
THE EXTENDED MODULATOR.
EP BP F C GDA
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t, m 1, r s, d
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ba, *, PI, 1, ', S,
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m, 1, J, s, d, f,
THE STANDARD COURSE
TONIC SOL-FA METHOD OF TEACHING TO SING.
FIRST STEP.
To produce a good tone. To train the muscles which rule the lungs. Given a key tone, to recognize and produce
itsfijth and third. To recognize and produce its upper octave and the lower octave of its Jifth. To recognize
and produce the simplest divisions of time.
VOICE TRAINING
A singing lesson is a calisthenic exercise, and
should be preceded, where possible, by such gym-
nastic movements of the arms and shoulders as will
exercise and strengthen the muscles of the chest.
Good Tone. From the earliest exercise, the pupil
should try to produce a good tone, that is, a tone
clear and pure (without any admixture of breathi-
ness), and of a pleasant quality. For this purpose
constant, if possible, daily attention must be directed
to three thiiigs: 1st, the "shock of the glottis;"
2nd, the throwing forward of the voice ; and 3rd,
the control of the breath. Purity of tone depends
on the first and third of these, quality on the second
and third. The lump in our throat called the
larynx or " Adam's apple," is the instrument of
voice. The glottis is the slit between those lips of
the larynx (or vocal cords), which form its lower
opening. When Garcia und other voice-trainers
speak of the " shock of the glottis ;" and when Dr.
Rush, Mr. Melville Bell, and other elocutionists
speak of the clear "explosion" of vowel sounds,
they refer to the firm closing, followed by the
distinct opening of these lips of the larynx. The
action of the lips of the mouth, in pronouncing
strongly the letter p, in papa, will illustrate this ;
and the " shock of the glottis " may be felt in a
St. Co. (New.)
slight cough, or in pronouncing clearly the letter
g, as in game; or k, as in keep. This "shock"
does not require force, but only definiteness of action.
It must also be delivered with as little breath as
possible. The word skaalaa, (aa as in father) which
many voice-trainers use for their exercises, has this
advantage, that its first syllable necessitates that
clearly marked "explosion" of the vowel of which
we speak ; but in using it, the s must be scarcely
heard, and the k must be delivered sharply.
Quality of voice (timbre, that which makes the
difference between a hard wiry voice, a soft clear
voice, a full rich voice, &c.) depends chiefly on the
habit of throwing the air-stream forward in the
mouth. Professor Helmholtz' experiments, as well
as the practice of Garcia and others, support this
view. The stream of vocalized air should strike
against the palate as near as possible to the root of
the upper teeth. Some vowels naturally favour
this habit more than others. In English, ee, ai
(as in fail, maid, &c.), oa (as in oar, coat, &c.), and
oo, are all " forward " vowels, as any one may know
by a few experiments with his own voice. The
frequent use of these vowels, in vocalizing, in
connection with a proper management of the
breath, enables the voice-trainer " to form," says
Madame Seiler, "out of a sharp, hard, and dis-
FIRST STEP.
agreeable voice, a voice sweet and pleasing." The
open vowel art ^as in father) is commonly formed,
by the English, the French, and the Germans, far
back in the mouth ; hut " the Italians," says
Madame Seller, " form no vowel so far front as
their clear-sounding beautiful act." When we copy
the old Italian voice-trainers in employing this
vowel so useful in vocalizing, because it opens the
mouth properly let us take care to throw it for-
ward, and so give it the soft round Italian quality.
It is unfortunate that our ee, ai, oa, and oo, do not,
like the Italian aa, promote the proper opening of
the mouth.
The proper management of breath promotes
a correct Mrikinir >!' the tnrs, as well as their
purity and quality. Insufficient breath causes
flatness of pitch, at the same time with thin and
poor quality. The slightest unnecessary force of
breath makes itself heard along with the vocal
klanir, and causes mixture and impurity of tone.
"Every tone," says Madame Seller, "requires, for
its greatest possible perfection, only a certain
qii..ntitv of breath, which cannot be diminished or
iner, i-' <1 without injury." AN the liiva:h In-; to
! received into the lunirs l>y tin- HUM ch.mu.-l
through which it leaves them, it is obvious that the
regular action of breathing must be interrupted
when we speak or sing. Hence the necessity of
care and management. Elocutionists as well as
voice-trainers recommend that the lungs should be
kept fairly full. Mrs. Elaine Hunt says : "Accustom
yourself to take breath wherever you can, although
you may not feel the necessity for it at the time.
This is important to beginners, as it teaches them
soon to take it without exertion, and less perceptibly
to the hearer." Of course the sensible singer can-
not take breath in any place in which his doing so
would spoil the sense and continuity of the words,
or of the musical phrases. There is no need of
noisy effort to draw in the breath ; the nose and
mouth being open, it is only necessary to expand
tlii- rili- and the lungs are filled. In the beginning
of his studies the singer should take breath at the
end. and at some convenient place in the middle of
each line of poetry. Gradually the muscles which
hold the ribs distended sideways, as well as those
underneath the lungs, by which alone the breath
should be expelled, or rather expended, will gain
strength. A long sustained tone should not be
expected at first ; and the swell upon such tones,
properly delivered, is, as Garcia, Rossini, and
others shew, among the last attainments of vocal
St. Co. (New.)
power. Exercise steadily pursued, and nothing
else can give to the muscles the requisite power of
control. Voice, exercises should, for a long time,
bo_sung, as the old Italian masters required, only
effort to sing softly (or piano], with a
full but not overcrowded chest, compels attention
to the control of the muscles ; it also the better
enables the pupil to perceive for ////*,//" what is
meant hy purity and beautiful quality of tone.
Until this perception is formed nothing is done.
The pupil in a popular evening class, must, in this
matter, rely chiefly on himself and his daily practice.
It is but little study of individual voices which a
class-teacher can give. Much, however, is done in
classes by imitation and sympathy. Wo \\n\e,
noticed thai every teacher who hi ins. 11 understand.-*
what " a good tone" is, will have it in his class ;
and when once the right habit is established there,
new comers naturally and easily fall into it.
Position. The singer should (a) stand with heels
together or in the soldiers posture of " stand at
ease.;" (b) with h ad erect, but not thrown hade ;
(c) with shoulders held back, but not up; (rf) with
lungs kept naturally filled not with raised chest,
except on extraordinary occasions but with the
ribs, never allowed to collapse, pressing against the
clothes at each side, and the lower muscles of the
abdomen drawn in ; (e j with the mouth freely open,
but not in the fish-mouth shape 0, the lips being
pressed upon the teeth, and drawn somewhat away
from the opening, so as not to deaden the sound,
the lower jaw falling, the palate so raised as to
catch on its front-part the stream of air from the
lungs. and the tongue flat, its tip just touching
the lower teeth. These rules have to be carefully
studied by the singer, and, at first, they will make
him stiff and self- conscious ; but soon, and with
care, the proper position will grow into a habit.
Everything will be most easy, and the motto of the
old masters will be realized " Pleasant face makes
pleasant tone." The teacher " calls his pupils into
position " by giving out as words of command
"a," " 4," " c," "d," " e." At each order, the pupils
take the position indicated by those letters as
above, and the teacher watches to make sure that
they do so properly. He makes a sign a motion
with the fingers of his left hand to those who do
not open the mouth sideways as much as he wishes,
and another sign to those who do not keep their
teeth about two finger-breadths apart. He shakes
his head at those who do not make a "pleasant
face," and so on. Garcia says : " Open mouths of
^'IEOT STEP.
an oval shape, like those of fishes, produce tones of
a sorrowful and grumbling character ; those of
which the lips project, in the form of a funnel, give
a hard harking voice; very wide mouths, which
exhibit the teeth too much, render the tone rough ;
those which have the teeth too close, form shrivelled
tones." These points must be attended to at the
commencement and in the course of every early
lesson. There is no other way in which the pupil
can be saved from slovenly habits and coarse fiat
singing.
Ex. 1. To train the muscles at the sides of the
'lungs and under them. To be repeated at the open-
ing of each lesson of the first step.
The pupils standing, if possible, in single file,
round the room (so that the teacher may approach
each one and quietly signify any defect of position
while the exercise is going on), the teacher raises
his hand while the pupils take in breath slowly,
and without noise. The pupils hold*their breath
while the hand remains high, and let out the breath
again through the mouth, and gradually as the
teacher lowers his hand. The teacher counts " one,"
"two," "three," &c (at the rate of M. 60, or as
slowly as a common eight-day clock ticks) , while he
lowers his hand. The pupils say, by holding up
hands, who held out as far as "three," "four,"
" six,' ' &c. The teacher is well satisfied with " four ' '
at first, and does not require even that from weak
lungs.
Ex. 2. To train the larynx for the production of
pure vocal klang. To be repeated at the opening of
each lesson in the first step.
The teacher sings on the syllable ai (as in gain,
pail, &c.) a middle tone of the voice, say G- or A.
The pupils imitate that tone, commencing immedi-
ately the teacher opens his hand, and cutting it off 1
sharply the instant the teacher closes his hand.
This done, he gives the vowel ai again, but immedi-
ately changes it into the more open and pleasant
aa ; changing, however, as little as possible the
ai position of the tongue, so as to secure the " for-
ward " Italian aa. The pupils imitate, attention
being given exclusively to the position and to
purity of the voice. This is done with various tones
say with D, with F, and with A.
FIRST EXERCISES IN TUNE.
Pitch. By " pitch," we mean the highness or
lowness of sounds ; the difference between the
sounds produced towards the right hand on the
St. Co. (New ) By means of the ribs, not the throat.
piano and those towards the left, or between a
squeak and a growl. We are not anxious, at present,
to teach the absolute pitch of sounds. Our first and
chief work is to teach the relation of sounds in a
tune to what is called the key-sound of that tune.
Key Tone. Everything in a tune depends on
a certain "given" sound called its governing,
or key -tone, from which all the other tones
measure their places. At present the teacher will
pitch the key-tone for the pupil. The modulator
represents this key- tone with its six related tones,
in the way in which they are commonly used. The
pupil will learn to sing .them by first learning to
perceive their effects on the mind, and not by
noticing their relative distances from each other. .
Pattern. The teacher never sings with his
pupils, but sings them a brief and soft " pattern."
The first art of the pupil is to listen well to the
pattern, and then to imitate it exactly. He that
listens best, sings best. "When it is the pupil's
turn to sing let him strike the tones firmly, and
hold them as long as the teacher pleases. As soon
as the modulator is used, the teacher points on it
while he sets the pattern, and also while the pupil
imitates.
Ex. 3. The Teacher asks his pupils for a rather
low sound of their voice. He gets them to sing it
clearly, and well drawn out, to the open syllable
aa. He takes it for the key tone of a tune. He sings
it, and immediately adds to it what is known as
the fifth above. The pupils try to imitate the
" pattern," singing (still to aa) the key tone and
its nearest related tone. When, by patient pattern.
and imitation, this is done,
Ex. 4. The Teacher gives a different low sound
of the voice for the key tone, and asks the pupils to
give him that other related tone again. This he
does several times, always changing the key tone.
Names and Signs. Immediately that a thing is
understood it is important to have a name for it,
and sometimes a sign also. Any name or sign
which is agreed upon between Teacher and pupil,
will answer the purpose. But it is convenient to
use the same names which others use. On our
modulator and in our notation we call the key tone
just given Doh, and the other nearly related sound
Soh. For voice Exercises, in which the Teacher
has to look at pupils while he gives them signals to
guide their singing, it will be useful to employ the
closed hand as a sign for Doh, and the open hand,
pointing outwards, with the thumb upwards, for Sok.
FIRST STEP.
Ex. 5. The Teacher gives Doh and Soh (to the
open aa") and, immediately after, another sound,
different from Soh, which he knows as the third
of the scale. The pupils imitate his pattern. The
Tonic Solfa name for this sound is Me, and the sign
is the open hand with the palm downwards,
Ex. 6 . TheTeacher, by the above named manual
signs, causes the pupils to sing (while he watches
their position and the opening of their mouths,)
to the open sound aa such phrases as the following,
Doh, Soh, Me, Soh, Doh. Doh, Me, Soh. Soh, Me,
Doh, Me, &c., &c. The Teacher changes his key
tone with nearly every new Exercise, lest the pupils
should be tempted to try and sing by absolute pitch,
instead of directing their attention to the relation
of sounds.
Mental Effect. The effect felt by the mind as it
listens to these three tones, arises first from their
difference in pitch, one being higher or lower than
the other, and secondly and chiefly from their
agreeing well with each other, so that it is pleasant
to hear them one immediately after the other, and
pleasant to hear them sounded together. The
science of sound shows how closely and beautifully
these three tones are related to each other, in the
number of their vibrations. Their agreement may
be shewn by sounding together 1st Doh and Soh,
2nd Doh and Me, 3rd Me and Soh, and 4th Doh Me
Soh. When three tones are thus related, and
sounded together, they are called a Chord. The
pupils will be led to notice the different effect on
their minds of the three tones of this Chord. As
they form the Chord of the key tone, they are the
bold, strong, pillar tones of the scale, on which the
others lean, but they differ in the manner of their
boldness, one being brighter, another stronger and
more restful, another more peaceful, &c. The
Teacher, having brought his pupils to a clear con-
ception of these tones, apart from syllabic asso-
ciation, now attaches to each of them its singing
syllable, teaching by pattern, and pointing on
the modulator the six following exercises. For the
sake of solitary students, who cannot be thus
taught, these exercises are printed, in the form of
diagrams, with skeleton modulators at the side.
The first letters of the syllables on the modulator
are used to indicate the notes, and so point to the
modulator in the mind's eye. A narrower type
and somewhat altered form is given to the letter m
(n), for convenience in printing.
Ex. 7. KEYS D & F.
Ex. 8. KEYS D & F. Ex. 9. KEYS D & F.
SOH
HE
DOH d
88
Ex. 10. KEYS D & F. Ex. 11. KEYS D & F.
s s
DOH
St. Co. (New.)
Ex. 12. KEYS D & F.
S 8
n n n
v
\
FIRST STEP
Octaves or Replicates. It is in the nature of
music, that tones, which vibrate twice as fast or
twice as slow as some other tone, should sound so
like that other tone, and blend so perfectly with it,
that they are treated as the same tone and receive
the same name. They are the same in Relative
position and mental effect, the difference of pitch
being the only difference between them. Thus
every sound has its " replicate " or repetition above
and below. The two sounds are called octaves one
to another, because if you count the tones of a scale
from any sound to its replicate (including the tones
at both ends) you count eight or an octave of sounds.
"We put a figure one upward thus ('), as a mark
for the upper octave, and downward thus (|), as a
mark for the lower octave. If vre wish to indicate
higher or lower octaves still, we use the figure
( 2 ). The sign for a higher octave would be given by
raising the hand which gives the sign, and for a
lower octave by lowering it.
Ex. 13. The Teacher gives a low sound of the
voice for Doh, and patterns to the open syllable aa,
d, n, S, d 1 . The pupils imitate. Again, by manual
signs, the Teacher requires the pupils to sing which
ever of these notes he pleases, while he watches the
position and the opening of the mouth, in each
exercise varying the key.
Ex. 14. The Teacher gives a middle sound of
the voice for Doh, and then patterns to the open aa,
d, PI, S, Si, d. The pupils imitate. Again, watch-
ing his pupils, he requires them, by manual signs,
to make any of these tones he pleases, in each exer-
cise varying the key.
The Teacher sets for each of the following Exer-
cises a Solfa pattern on the modulator.
d'
SOU
ME
DOH
Ex. 15. KEY C.
d'-d 1
s s
\
n
/
Ex. 16. KEY C.
d 1 d' d'
Ex. 17. KEY G.
FiHsf EXERCISES IN NOTATION.
In the following Exercises, "Key G," " Key C,"
" Key A," tell the Teacher where to pitch his Doh.
The letters point on the modulator in the mind's eye.
The Teacher pitches the key tone. The pupils
" sound the chord," singing (when they have a
middle soxmd of the voice for Doh,) Doh, Soh ( , Me,
Doh, and when they have a low sound, Doh, Me,
St. Co. (New).
Boh. As there is no indication of time, the tones
may be made as long or as short as the Teacher
likes. A gentle tap on the desk will tell the pupils
when to begin each tone. During this Exercise it
may be well to let the large modulator hang before
the pupils, that they may glance at it when their
mental modulator fails them.
Ex. 1C. KEY G.
s f d PI s
Ex. 19. KEY C.
s
s m s n
PIEST STEP.
Ex. 21. KEY C.
nsmd s m s d d
Ex. 22. KEY A.
S
Ex. 1824.
Ex. 20. KEY A.
S
n
s d
d
FIRST EXERCISES IN TIME.
Time and Rhythm. The word time is commonly
sed in three different senses. Sometimes it means
the deyree of speed at which the music is sung, as
when we speak of quick time, slow time, etc. This
we call " The Rate of Movement." Sometimes it
means the arrangement of accents in a tune, as
when we say " common time," " triple time," etc.
This we call " The Measure." Sometimes it means
the varied lengths of a set of notes standing to-
gether, as when we speak of " keeping the time "
in a certain phrase. These time -arrangements of
brief musical phrases we call " Rhythms." The
word Rhythm is also used in a general sense to ex-
press the larger relations of time and accent, such
as the number and kind of measures in a tune, and
the proportion which is given to each " section " of
the tune.
Accent or Stress. The Teacher, by singing on
one tone such an exercise as the following,
KEY G.
d :d
wake, H-
tld :d d :d :
1 1 aw - ful dawn- 1 : /\\
leads his pupils to distinguish the difference be-
tween a weak and a strong accent both in words
and music. The Teacher will be careful not to let
his pupils exaggerate the strong accent, so as to
make a jerked tone instead of simply an accented
tone. Accent is produced by the combined use of
distinct ness (or abruptness) and/orre in their vari-
ous degrees, and it differs in quality as one or the
other element predominates. An upright bur ( | )
_>h \s> ill il tin' nut.' whii-h 1'iill.jws it is to ] Mini,'
wit, she stronger accent. Two 'lots, thus, ;:)shew
that the note which follows them is to be sung with
t.hr wrak accent.
Pulsea. It will be noticed that in music the
voice is naturally delivered in successive beats or
impulses, some having the strong and some the
St. Co. fNew.i
n s
n d n
Ex. 23. KEY C.
s
m
m
s
weak accent. These we call Pulses. The Teacher
illustrates this. The pulses move faster in some
cases and slower in others, but the pulses of the
same tune are equal in length one to the other.
The Teacher illustrates this. The beginning of a
pulse of time is indicated by an accent mark as
above, and its end is shown by the next accent mark.
In Tonic Solfa printing we place the accent marks
in each line of the music, at equal distances, so as
to measure time pictorially.
Measure. In music the accents recur in regu-
lar order, that is, if they begin thus, STRONG.
weak, they go on in the same way, if they begin
STRONG, weak, weak, they continue to recur in that
order and so on. The Teacher illustrates this by
singing tunes to his pupils, and requiring them to
tell him which order of accents he uses. The time
which extends from one strong accent to the next is
called a measure. It is the primary form of a
measure. If the tune begins on a weak accent the
measure is reckoned from that, and extends till the
same accent recurs again, This is the secondary
form of a measure.
Two-pulse measure. When the accents of a tune
recur in the following regular order, STRONG, weak,
STRONG, weak, and so on, or weak, STRONG, weak,
STRONG, and so on, that tune is said to be in two
pulse measure. The primary form of two pulse
measure would be represented thus j I ' I
and the secondary form thus | : (
Time Names. We call a single pulse (whatever
be the rate of movement) TAA.
Ex. 24. The Teacher causes his pupils to sing
a number of primary two-pulse measures on one
tone to the time-names, while he beats the time
steadily. He does this till all have "got into the
FIKST STEP.
swing" of the rhythm (TAA, TAA, TAA, TAA, &c.)
so that all the voices strike the beginning of each
pulse perfectly together. Alternate measures are
thejDLBungJby teacher and pupils, maintaining the
same rate. They do this again with an entirely
difie.rent rate of movement, only taking eare to
keep up the rate of movement when once begun.
In this exercise let the pupils be careful to sing
each pulse fully to the end. The second vowel AI
is often added to make him do so.*
Ex. 25. The teacher in the same manner makes
his pupils practise secondary two-pulse measures
TAA, TAA, TAA, TAA, &0.
Ex. 26. Sing Exs. 20, 22, and 23, beginning
with the strong accent, and again beginning with
the weak.
Ex. 27. Sing Exs. 18, 19. and 21, beginning
with the weak accent, and again beginning with
the strong.
Three-pulse Measure. When the accents of a
tune recur at regular intervals thus, STRONG, weak,
weak, STRONG, weak, weak, and so on (that is"
like the accents in the words "heavewfy," "hapjoz-
ness" and so on) or weak, STRONG, weak, weak,
STRING, weak, and so on, (that is like the accents
in the words " avaxing" " aTavndcDit," and so
on) the tune is said to be in three pulse measure.
The primary form of three pulse measure is this
| : : || and the secondary this : | : ||
In the three pulse measure, when sung slowly, the
second accent is not weak, but often nearly as strong
as the first. For convenience, however, we always
write this measure as above.
Ex. 28. The Teacher will make his pupils
sing TAA, TAA, TAA (primary three-pulse measure)
on a single tone, while he beats time, first at one
rate of movement and then at another rate, always
sustaining, in each exercise, the rate at which he
commences it.
Ex. 29. The'teacher will do the same with TAA,
TAA, TAA (secondary three-pulse measure).
Ex. 30. Sing exercises 20 and 22 in the pir-
mary three-pulse measure, making two measures,
and the first pulse of the next, to each exercise.
Ex. 31. Sing exercises 18 and 19 in secondary
three-pulse measure, making for .each exercise, two
measures and two pulses of a third measure.
Continued Tones. When a tone is continued
from one pulse into the next, we mark the continu-
ation by a horizontal line, thus ( ) . The time-name
for continuations is always obtained by dropping the
consonant, thus, TAA, -AA, Sec. Pupils are apt to
St. Co. (New).
fail in giving their full length to prolonged tones.
Half-pulses. When a pulse (TAA) is equally
divided into two parts, we give it the name TAATAI.
The sign for an equally divided pulse is a dot in the
middle, thus ( [ , ; ), and thus (\ d .m : )
Beating Time. Pupils should never be allowed
to "beat" time till they have gained a sense of
time.
Speaking in Time. The value of the Time-
names depends on their being habitually used in
time each syllable having its true proportion.
Taatai-ing. "Wepropose to use this as a shortword
for the phrase "singing on one tone to the time names, "
just as we use " Solfaa-ing " to save the circumlo-
cution " singing with the use of the Solfa syllables."
In the early steps of any art it is better to learn
each element separately. As the pupil has first
learnt tune separately from time on the Modulator,
so now, with the help of the Time Chart, he studies
(True separately from tune. The rule of good teaeh-
ing that, at the first' introduction of any distinct
topic, that topic should occupy much more than its
ordinary proportion of each lesson, will strongly
apply in this case; for we have to establish in the
memory an association of syllable and rhythm, just as,
in teaching tune, we have already begun to establish a
mnemonic "association of syllable and interval through
mental effect. 1st. The teacher patterns and points on
the Time Chart (just as he patterns and points on
the Modulator) and the pupils imitate (taatai-ing on
one tone) the first half of one of the time exercises.
The Teacher's pointer will sufficiently well beat
time as it strikes on the Chart. 2nd. Teacher and
pupils Taatai the time-phrase alternately, the teacher
singing softly, with clear accent and very exact and
well filled time, but only pointing or tapping on the
Time Chart when the pupils take their turn. This is
done till the pupils " get into theswing," striking the
accent well together and giving each tone its full
length. 3rd. The second half of the exercise is taught
in the same way by patternand alternating repetition.
4th. The two parts are put together and patterned
and alternated as above, but at a quicker rate, with-
out pointing, the teacher beating time only when
it is the pupils turn to sing. 5th. The pupils Taa-
tai from the book as directed in Ex. 32. The other
processes of Time-laaing, of Tuning the time-
forms and of Taatai-ing in tune, are introduced a
little later, when the time-names are familiar.
Each process is only continued till the exercise is
* Latpr on (p. 18) the AI may be omitted.
WEST STEP.
perfect. These many processes, each increasing in
difficulty, give variety to the work of the learner
and keep his attention fixed on an otherwise unin-
teresting hut most important suhject.
Ex. 32. First aftwZy repeated so at least three times and then quickly, and repeated so six times.
il
( J
TAA TAA I TAA
Ex. 33. Slowly and quickly.
1 :1 II
TAA TAA | TAA
Ex. 34. Slowly and quickly.
1 :
TAA -AA
Ex. 35. Slowly and quickly.
1 :1 :1
-AA
1 :
TAA
TAA
TAA
TAA
Ex. 36. Slowly and quickly.
1 :1
TAA TAA TAA TAA
i TAA
1
TAA
Time Laa-ing. The Teacher when 'all the above
exercises have been properly learnt, with time names,
will cause them to be sung again in the same way,
but to the open syllable Laa. The time syllables
are, like the Solfa syllables, valuable as mnemonics,
and must be much used, especially in the early
steps. But they must not be too exclusively used,
lest our pupils should be able to sing correct time
to nothing else.
Ex. 37. Laa Exs. 32 to 36.
TUXE.
Tune Laa-ing. As soon as the memory-helping
Solfa syllables have been rendered familiar, every
tune should be Laad from the book. Some teachers
mako a habit of Laa-ing from the modulator, directly
after the Solfa pattern has been learnt. One study
should be always before the teacher's mind while
his pupils are Laa-ing, that of the blending and
tuning of the voices. As all arc using the same
syllable Laa (not law or loa} it is more easy to
notice whether in unison (that is when all sing the
same tones) the tones blend as into one voice, and
whether, in harmony (that is when several melodies
are sung together) the tones tune well with each
other.
Two-part Singing. It is at first very difficult for
St. Co. (New.)
TAA TAA
1
TAA
TAA TAA
1 :1
TAA TAA
:- II
TAA
1
TAA
=1
TAA
pupils to sing independently one of another. The
simplest form of two-part singing is that in which
one set of voices repeatedly strikes the same tono
i^" tolls the bell"), while the other set sings the tune,
as In exercises 38 to 41. These exercises should
first be taught by pattern from the modulator, and
then sung from the books, the Teacher beating the
pulses by gentle taps on the desk. If the long
tones are not held the proper length, they must bo
sung to the time names.
( Brackets are used both at the beginning and
( ending of lines to shew what parts of the music
may be sung together.
Double Bars (||) are used to shew the end of a
tune, or the end of what is called a musical " section,"
g< 'ii< Tally corresponding to a lino of poetry. Where
the double bar occurs, the regular accent mark,
whether strong or weak, is omitted. But it must
nevertheless be understood and observed.
Exchanging Parts. The exercises of this and
the second step do not go too high for low voices,
or too low for high voices. All kinds of voices can
sing both the upper and the lower parts. At these
two steps, therefore, as soon as an exercise is sun<r,
and without a moments pause, it should be sung
over again, those who have sung the higher part
FIEST STEP.
taking the lower, and those who have sung the
lower taking the higher. It is obvious that these
early exercises are best fitted for those classes in
which the voices arc all of the same sort, that is,
all men's voices, or else all women's and children's
voices. If, however, the class is a mixed one, the
exercises can well be used, although they will not
be so pleasant. It is better in this case to let the
voices be mixed for both of the parts; for variety, how-
ever, ihe teacher may occasionally give the higher
part to the ladies, and the lower to the gentlemen.
Breathing Places. It will be soon felt that
music naturally divides itself into short portions or
phrases. Just before the opening of a phrase is,
musically considered, always the best breathing
place. The pupil will soon learn to select breath-
ing places for himself ; but at the present step we
have marked the most convenient breathing places
by means of a dagger thus f. The endings of lines,
however, are not marked, as breath should ahrayx be
taken there. The pupil who sings on till his ribs
collapse and his lungs are empty, </i//l then takes
breath, produces a flat tone, and feels uncomfortable.
Ex. 38. KEY D. f
d :-
n :
s :
d 1
d :d
d :d
d :d
d
Ex. 39.
d : d
KEY D. f
n : n
s : s
d 1
d :-
d :
d :-
d
Ex. 40.
r : -
d :d
KEY F. f
s :
d :d
n :
d :d
d
d
Ex. 41.
d :n
KEY D. f
s : n
s : n
d
d :d
d :d
d :d
d
Ex. 42.
d : n
KEY D. Q
n : s
tiekly.
s :d'
d
d :
:
n :
Ex. 43.
d :-
KEY B. f
Si :
n :
d
HI : Pii
n, : n,
si : s.
HI
Ex. 44.
d : n
KEY F. Q
s : n
tticldy.
d : PI s
d :-
s, :
d : n
s : n
d : n
s : n d
n :
d :
ri : d
t
s
cl
d 1
d
d 1
n
n
d
St. Co. (New.).
d :
d :d
s : n
d :d
n : d
d :
t
s, :
di HI t S|
: n s
: n
: n d
- :- d
d :-
d :-
d :
d :
son
ME
EOH
s :
10
II 1 -
Ex. 45. Slowly, and quickly.
.1 1
TAATAI
TAA
KEY C.
|d : n .s I d' : s .n ! s .n : s .n | d
XEYC.
Id 1 : s.n |d : n.s i d'.s : d'.s |n
II
Ex. 46. Slowly, and quickly.
1 .1
TAATAI
FIRST STEP.
1 .1
TAATAI
TAA TAA
|d :n |s.n:d ! s.n : s.n s.n : d
| n : d id.n : s |d.n: s.nld.n : s
I .1 :1 .1 II :
TAATAI TAATAI I TAA -AA
KEY G.
|d :si.d|n : d.d |n.d : n.d| s :
KEY G.
|d : S|.S||d : S|.n|d.d : s,.n|d :
1 .1
TAATAI
1 .1
TAATAI
1 .1
TAATAI
|d' :s |n.s:d' | d'.s: n.s I n.s :d
Id : s, |d.n:d | d.s,: d.s,| d.n : d
Taatai-ing in Tone. Laa-ing on one tone helps
to form that abstract idea of a rhythm which is
desired. But such an idea is never truly established
until the ear can recognize a rhythm as the same,
through all the various disguises which different
tune-forms put upon it. To learn the abstract,
you must recognize it in many concretes, tho
abstract idea "round" in tho concretes wheel,
plate, full moon, penny, &c., &c. ; of "crimson" in
a shawl, a feather, a flower, a punctured tinger,
&c., &c. If we saw nothing round but a wheel,
we could not form an abstract idea of " roundness."
As a help to this distinct conception of rhythm, it
is useful to taatai each time exercise on various
tune forms. Tho Teacher 1st, tunes the time-form,
solfaa-ing and teaching, by pattern, one of the
phrases printed under the time exercises, 2nd,
patterns tho same from the Modulator, as before,
but taatai-iny, as ho points, instead of solfaa-iug.
Tho pupils imitate. The time-names shew them the
sameness of tho rhythm, while the modulator points
them to tho difference in tune, 3rd, causes his
pupils to sing tho same from the book.
Ex. 47. Taatai in tune, all the tune-forms
printed below Ex. 45 and 46, and any others, the
Teacher may invent.
The following exercises (introducing three-pulse
measure without divided pulses, and taatai in two-
pulse measure), should now be solfaad by pattern,
from the modulator, taataid from the book,
solfaad from tho book, and load from the book.
Let each " part " be taught separately before the
two parts are sung together.
Ex. 48. KEY D. Quickly, and slowly.
:d :d
:- :d
n : :
d :- :-
- :d
: s
: s
: :n
St. Co. (New.)
: cl : d 1
: s
: n
FIRST STEP
1
Ex. 49. KEY
d : PI : s
D. Quickly, and slowly.
d 1 : : d 1 : s
: PI d
;
: _
d 1
d : : d
n s
: PI : -
- :d d
:
: -
i PI : s :d
1 s :
:- 8 :n
:s d
:
:-
- || son
( n : :n
PI :
: PI : -
: PI d
:
:-
- 1
Ex. 50. KEY
: s, d : -
G. Slowly,-
- :d
-and quickly, f-
PI : d : n s
: : s
n
. _
ME
: si PI, : -
- : BI
d
: : d n
: : PI
d
;
j : d s, : d
: n
S|
: d : PI s
:- is,
d
: _
DOH
t : n, n, : -
- : s,
rii
: si : d n,
: : si
Pii
: ~
Ex. 51. KEY C
id : n s
'. Slowly, and qui
: s t d .n : s .d'
ckly. f
s : PI :
t
s d' : d 1
d
.8
d'.s
S(
n :
d :d n
: n d .d
: n .s
PI : d :
PI PI ; PI
PI .PI
n .PI
d :
Ex. 52. KEY (
; : s, d : n .d
>
3-. Slowly,
s, t:d
and quickly. f
PI : d s : PI
t
d : Si.d n
:d
s
S|
d ||
i ' S| pii ; ri|.n
i pii .HI i Pii
s,
: d s, : s.
HI : pi|.S| d .d
:d
PII
S|
PI, II
Ex.63. KEY :
d .PI : n d .PI
D. Slowly, and qu
: PI t s : s
ickly.
PI : t n .s :
s PI .s : s t
d
i .
s
d 1 :-
d :d d
: d |d .PI
: PI
d : n :
PI PI ; PI
n
.s :
s
n :
MODULATOR VOLUNTARIES.
A.t every lesson, the pupils will be exercised in
following the Teacher's pointing on the modulator,
without a pattern. The difficulty of this is, that the
pointer cannot shew accent, but, in cases of diffi-
culty, by means of the time names the teacher can
explain any rhythm he wants. The pupils will learn
to follow promptly, and to form the habit of holding
the tones as long as the pointer stays on a note.
St. Co. fNew)
The movements of the pointer are most visible
when it passes from note to note with a curve side-
ways The Teacher can invent his voluntaries or
take them from other Courses. But they should
never include greater difficulties than belong to the
step which the class has reached. See the " Hints
for Voluntaries." These Exercises will prepare for
the next.
FIRST STEP.
EAR EXERCISES.
The Teacher will now give his pupils short musi-
cal phrases, sung to figures, and ask them to tell
him to which figure or figures d fell ? to which
m ? to which s ? to which d ? to which s, ?
He will also give them a key tone and chord,
singing immediately to the sharply opening syllable
skaa, either d, m, s, d 1 , or s ( , and requiring the
pupils to tell him what tone he has sung. The
answers to these exercises should not come from a
few only of the class, but the Teacher will contrive
(by subdividing the class or otherwise), that all
shall feel the responsibility of thinking and preparing
an answer, and all will be interested. See " Hints
for Ear Exercises," It is a great advantage when
the answers to these ear exercises can be written
fty the pupil, and afterwards examined and regis-
tered by the teacher or his assistants.
POINTING FROM MEMORY.
At the close of each lesson the pupils should take
a pride in shewing their teacher how many of the
previous exercises they can point and Sol-fa from
memory. These Exorcises should be registered in
favour of each pupil. Musical memory should be
cultivated from the first, because it will greatly
facilitate the progress of the pupil in future steps,
and will be of constant service to him in after life.
WRITING EXERCISES.
Notation is best taught by writing, and the thing
noted is more quickly and easily practised when the
notation is clear and familiar to the mind. Hence
the value of writing exercises. For the first step
the teacher should bid his pupils draw on slate or
paper four (or eight or sixteen) two pulse measures,
in the primary (or secondary) form. The teacher
may do the same on a black board to shew his pupils
what is meant. When the measures are properly
drawn out, the teacher will dictate the notes to be
written in each pulse, or ho will write them on the
blackboard for bos pupils to copy. These notes he
may invent for himself, or copy from other courses,
but they must always belong to the same "step."
DICTATION.
Dictation has always been difficult as soon as
the time became at all complicated, but the time
St. Co. (New.)
names give us a means cf dictating, by very brief
orders, one pulse at a time, " Rhythm," " Accent,"
and " Tune," at once. Thus, if we were dictating
Ex. 52, we should first say to our pupils "secondary
two-pulse measure." "Prepare for 8 measures."
"TAA lower ,," "TAA d," " TAATAI m d," &c., or
in Ex. 53 " TAATAI d m," "TAA m," &c.
The Tonic Sol-fa music paper will be found very
useful for dictation. By this means a whole class
may be permanently supplied with copies of a tune,
while in the process of writing they make ;i
thorough acquaintance with the tune, and are thus
prepared to sing it. The Sol-fa music paper is so
ruled that the copyist can keep his pulses of equal
lengths throughout the tune. He can allow one
compartment to a pulse, or two. In either case he
will not find it necessary to mark with the pen or
pencil more than the strong accents.
WRITING FROM MEMORY.
Pupils should also be well practised in writing
tunes from memory. Even where it is difficult for
a whole class to point on their modulators from
memory at the same moment, so as to be seen by
the teacher, it is not difficult to engage a whole
class at the same moment, in writing with closed
books from memory, the tunes they have learnt. If
every pupil has his number, and writes that number
on the right hand upper corner of the exercise, in-
stead of his name, assistants can be employed to
correct the exercises, and to register a mark for
every pulse properly written.
SUPPLEMENTARY EXERCISES.
The Teacher naturally desires to see that all the
members of his class (except the careless and inat-
tentive who have no claim upon him) have mastered
the topics of each step before that stop is left. Some
classes require longer practice on one topic, and
some on others. For this purpose as well as with
the view of gathering all eyes to one point in his
elementary explanations, he is recommended to
make good use of the black board, andthe "Standard
Charts," pp. 1 to 5 (Tonic Sol-fa Agency). The
"Wall Sheets," No. 1 (for time exercises), and
Nos. 7 and 8 (for tune) may also be used as supple-
mentary to the exercises of this step.
FIRST STEP.
13
QUESTIONS FOR WRITTEN OR ORAL EXAMINATION.
1 To what three practices must the
pupil give daily attention in order to
produce a pure and pleasant tone .'
2 What two habits improve the
purity of tone 1
3 What two habits improve the
quality of tone?
4 Which are the forward vowels in
the English language ?
5 What three things are promoted
by a proper management of the breath ?
6 What mismanagement of the
breathing causes flatness of pitch ?
7 What effect on a tone arises from
the use of too much breath 1
8 Where should a beginner regularly
take breath ?
9 Where should we not take breath 1
10 By the action of which set of
muscles should the breath be expended ?
1 1 What are the two reasons for sing-
ing the early voice exercises softly ?
12 Describe the best position for the
body in singing for the head for the
shoulders for the chest for the mouth
the lips the lower jaw the palate
the tongue.
13 Describe the bad effects of any
wrong positions of mouth or body.
14 What do we mean by the " pitch "
of sounds 1
15 What is your idea of a key tone ?
16 Why is it important to listen well
to the pattern ?
17 What is the name for the key tone
of a tune, and what is its manual sign 1
18 What are the names and signs (1)
for the tone which is commonly known
as the fifth above the key tone, and (2)
for that which is known as the third
above it 1
19 From what two causes arise the
different effects of the related tones
Doh, Me, and SoU on the mind I
57 Hold a steady tone, without taking
breath, for five seconds.
58 Sing any two of the exercises 38 to
44, and 48 to 53, chosen by the teacher,
to the open syllable Laa, correctly and
rvithout oreathiness of tone.
59 Sing to the open syllable Laa, the
Soh to any Doh the teacher gives you.
60 Sing in the same manner the lower
Soh,.
61 Sing in the same manner the upper
Do ft'.
62 Singin the same manner the J/e.
63 Sing in the same manner the lower
St. Co. (New).
DOCTEINE.
20 What is the name given to a set i
of three tones thus related ?
21 What is an octave or replicate,
and its sign ?
22 We can tell pupils what tones of
the scale to sing, either by pointing on
the modulator, or by giving them
manual signs. What other way have
we of doing so ?
23 What do "Key G," "Key C,"
"Key A" mean at the beginning of
a tune?
24 What are the three common uses
of the word "Time," and what distinct
name do we give to each of the three
things ?
25 How is "Accent" produced?
26 What is the sign for a strong ac-
cent, and what for a weak ?
27 What is the name we give to the
time which extends between one accent
(of either sort) and the next ?
28 What is the time name for a one-
pulse tone ?
29 In what cases may pulses be dif-
ferent in length one from the other ?
30 In what circumstances are pulses
the same in length one with the
other ?
31 What is the order of accents in
the primary form of two-pulse mea-
sure ? What in its secondary form !
32 What is the order of accents in
the primary form of three-pulse mea-
sure ? What in its secondary form .'
33 Give the time names which re-
present a primary two-pulse measure,
and a secondary three-pulse measure ?
34 How do you mark a two-pulse
tone, and how do you name it ?
35 How do you mark and name a
three-pulse tone ?
36 Why is it important, in elemen-
tary teaching, to use distinct names
for continuations ?
PEACTICE.
64 Taatai the upper "part" in one
of the Exs. 51, 52, or 53, chosen by the
teacher.
65 Taatai in tune one of the Exs.
51, 52, or 53, but not the same as in the
last requirement, chosen by the teacher.
66 Point on the modulator from
memory any one of the Exs. 46 to 51,
chosen by the teacher.
67 Write down from memory an-
other of these exercises.
68 From any phrase (belonging to
this stage) sung to figures, tell your
teacher, or write down, which figure
was sung to Me.
37 What educational principle dis-
tinguishes the early steps of any art ?
33 How long should the pupils re-
peat the first time exercises (
39 What is the difficult thing which
the teacher has to maintain in the time
exercises .'
40 Why are the pupils at first not to
beat time ?
41 How is it that the Sol-fa syllables
come to be mnemonics (or memory-
helps) of tune, and the time syllables
mnemonics of time 2
42 What is the use of Laa-ing ?
43 What is the meaning of a bracket ?
44 What is the meaning of a double
bar?
45 What are the best breathing-
places when music only is considered ?
46 What is the sign for a pulse
equally divided into two-parts ? What
is its time name ?
47 What do you mean by taatai-ing ?
43 What is meant by taatai-ing in
tune?
49 How does the practice of taatai-
ing help the mind to individualize
to form a distinct conception of a
rhythm ?
50 In the practice of modulator vol-
untaries, what two habits must the
pupil form ?
51 What difficulties must not be in-
cluded in voluntaries ?
52 Describe the two forms in which
ear exercises can be presented ?
53 Why should musical memory be
cultivated ?
54 What is the best way of teaching
notation ?
55 What advantage does the singer
get from the practice of writing music ?
56 How would you dictate the air of
the first four measures of Ex. 53 ?
69 Ditto Soh.
70 Ditto Doh.
71 Ditto Doh 1 .
72 Ditto Soh t .
73 Having heard the chord, tell, or
write down which tone of the scale wa&
sung to Skaa. Do this with two dif-
ferent tones belonging to this step.
74 follow to the teacher's pointing
on the modulator in a new voluntary,
containing Doh, Me, Soh, Doh 1 , and Soh,.
TAA, TAA-AA, and TAATAI.
75 Write from dictation, and after-
wards sing a similar exercise.
14
Ex. 545.
SECOND STEP.
To train the voice in purity, beauty, and good accord. To distinguish the mental effects of d, m, s, t and r.
To produce them. To distinguish and produce the medium accent and the four-pulse and six-put .< mi'timires,
also the whole-pntse silence, the half-pulse sounds in three pulse measure, and the fourths of a pulse in their
simplest form. To observe the reasons for breathing vlaces. To commence the study of chords, intervals, dis-
cords, and passing tones.
VOICE TRAINING.
The teacher calls his pupils into position just as
he did at the beginning of every lesson in the first
step. Every lesson of the present step should open
Nvlth the following three exercises. It is exceed-
ingly important that the pupils should cultivate Jor
themselves a good position in singing. It will then
become an easy habit.
Ex. 54. CHEST EXERCISE, to strengthen the
muscles under the lungs and on its sides, and give
them control over the slow emission of breath.
The same as Ex. 1, except that the breath should
be breathed out more slowly, and that a sound may
accompany it. Some will now be able to continue
the tone while the teacher slowly counts ten, say
for ton seconds. The weak -chested must not be
discouraged. This exercise daily practised will be
life and health to them.
Ex. 55. VOCAL KLANG EXERCISE. The same
as Ex. 2, except that instead of using only one
tone the pupils will sing the Tonic chord. They
will sing, in obedience to the teacher's manual signs
d m s d 1 d s m d. The manual signs enable the
teacher to watch the posture of his pupils, and the
pupils to watch the commands and intimations of
the teacher. This exercise will be sung slowly (say
at M. 60) and also softly, for the sake of studying
beauty in the quality of tone. When in any exer-
cise, the teacher feels that he has secured that good
quality, he occasionally ventures on a middle force
of voice, but always strives to maintain the same
good quality. In mixed classes of men and women
this exercise will, of course, be sung in octaves, as
the voices of men and women are naturally an
octave apart. The importance of this simple exer-
cise, and the difficulty of obtaining a perfect and
pure unison of voices in it are strongly i-nforced by
Fetis (see " Choir and Chorus Singing," page 9).
The exercise is 1st, Bol-faad once, 2nd, sung once
to the forward syllable lai. 3rd, sung three times to
the forward and pleasant Italian syllable laa, and
4th, sung once to the best English syllable for the
sharp accented delivery of tones koo, striking four
sharp koos to each tone. The first step of this pro-
cess puts the ear in tune : the second places the
St. Co. (New.)
tongue properly, and so prepares the mouth for the
real Italian aa : the third gives the best form of
mouth for the production of a beautiful sound : and
the fourth strengthens the voice by vigorous (not
forced) action, and favours that downward motion
of the larynx on the delivery of short and accented
(though not loud) tones which has to be formed
into a habit for after use. The exercise, having
been thus six times sung in Key C, the same pro-
cess will bo repeated in Key D.
Tuning Exercises can now be added for the pur-
pose of teaching voices singing different parts to
study one another, and to chord well together. To
some extent this is done in every exercise, but it
requires also separate study. The teacher divides
his women's and children's voices into three "parts,"
(1st, 2nd, and 3rd) and causes them first to sol-faa
and then to lai and laa, the following exercise.
When this is done to the teacher's satisfaction he
utters the word " change " and those who have
sung the first part take the second, the second the
third, and the third thefirst. At the word"change"
againthesameprocessisrepeated. Tho teacherthen
divides his men's voices in a similar manner and
carries them through the same six-fold exercise.
The teacher, in this exercise, watches his pupils
.first, to ensure the holding of their books easily,
not cramping the chest, as high as possible (so as
just to see their conductor over the top) and with-
out bending the head, second, to secure a uniformly
clear, soft tone, making a signal to anyone whose
voice is so prominent as to stan i out from the rest,
and third, to maintain the perfect tuning into each
other of all the parts of the chord. The distinct
entry of each " part " is meant to assist the percep-
tion of "just" or exactly true intonation. See
Fetis, page 9. It is not every class that has the
thoughtfulness and courage to take this exercise at
the beginning of the second step, but it should be
attempted. The division of voices is a severe test
of independence, and therefore useful. Some sing-
ers will never be independent till you compel them
to try. For some time the accord of tho voices will
be very rough and imperfect, but soft singing and
listening will amend the fault.
SECOND STEI'.
15
Ex. 56. KEYS F and Gf.
1st. /
2nd j
3rd. I
n :
x
s
- -.
[Silent pulse, t
n :-
ee
S
P ris.]
n
: n
d
:
;
d
:d
d
;
:
: s
n :
d : s,
TUNE.
Mental Effects. It is of small importance what
names the pupil gives to the mental effect of the
different tones, but it is all-important that he him-
self (not his teacher, nor his class-mates) should
give those names, or if he cannot find a name, that
he should at least form for himself a distinct idea
of each mental effect. Let him listen carefully,
therefore, while his teacher sings to the class such
" exercises for ascertaining the mental effect" as
those below. () The teacher first sings the exer-
cise to consecutive figures, telling his pupils that
he is about to introduce a new tone (that is, one
not d m or s) and asking them to tell him on which
figure it falls, (b) When they have distinguished
the new tone, he sings the exercise again laa-ing
it and asks them to tell him how that tone " makes
them feel." Those who can describe the feeling
hold up their hands, and the teacher asks one for the
Ex.57. KEY B?. Effect of .R0y, high in pitch.
|d :s, |n :d |r : |d : II
Ex. 58. KEY B!?. Ditto.
: s, |d : : n I r : : s, |d : ||
Ex. 59. KEY F. Effect of Ray, low in pitch.
: si |d :n :d |r : : n |d ||
Ex. 60. KEY D. Ditto.
|d :s |n :d |r : in : ||
Collective Beading. The following exercises 65
to 70 (including leaps of r and t without any nevr
difficulties of time) will now be taught, in the same
manner and with the same processes as Ex, 48 to
53- with this addition, that after the tune has been
Load correctly and easily, the words will be studied.
Ttie Teacher reads the portion of words from one
breathing place to another, giving clear vowels and
sharp consonants, the pupils imitate collectively.
Vowels are ways of emitting the breath ; conso-
St. Co. '^wj
description. But others, who are not satisfied with
words, may also perceive and feel. The teacher
can tell by their eyes whether they have done so.
He nurttiplies examples (like those in "Studies," &c.,
which he may point on the modulator) until all the
class have their attention fully awakened to the
effect of the new tone, (c) This done he tells his
pupils the Sol-fa name and the manual sign for the
new tone, and guides them by the signs to Sol-fa
the exercise, and themselves produce the proper
effect. The signs are better, in this case, than the
modulator or the notation, because with them the
teacher can best command the attention of every eye,
and ear, and voice, and at the first introduction of
a tone, attention should be acute.
The manual sign for ray is the upturned hand,
open, and shewing the palm ; that for te is the
upturned hand, pointing with the forefinger.
Ex. 61. KEY D. Effect of Te, high in pitch.
Id :n |s :t It i Id 1 :- ||
Ex. 62. KEY D. Ditto.
|d :n |s :t |t :s Id 1 :- ||
Ex. 63. KEY F. Effect of Te, low in pitch,
|d :s |n :t, 1 1, :- Id :- |j
Ex. 64. KEY F. Ditto.
:s, |d :n |s : |t, : Id ||
nants ways of interrupting it. Both require definite
positions and movements of the lip and tongue.
Many uneducated persons are lazy in their use of
both organs. The object of the teacher will be to
shew by pattern that marked and clear utterance
which is the beauty of speech. Musical tones can-
not be prolonged on consonants ; the vowels are
therefore the more important to the singer. The
elocutionary studies of " accent," and " inflection,"
need not occupy the time of the class, because there
16
SECOND STE?.
iu no inflection in a musical tone, and the music
necessarily decides the accent. A simple monoton-
ous delivery of vowels and consonants will therefore
be sufficient for the teacher's present purpose. The
pupils will enjoy this exercise in proportion as their
teacher criticises their pronunciation with care. A
closer study of the subject will follow in the fourth
step.
Breathing Places have, thus far been chosen to
suit the natural division of a line of music into
" phrases." But the sense of the words i* more
important than the marked distinction of phrases.
It therefore over-rules all. Let the pupil notice
that in Ex. 65, we take breath before each cry of
" fire." This is a case of " breathing for emphasis,"
and illustrates an important rule for taking breath.
In Ex. 67 let him notice that the musical phrasing
would place the breathing place between " I " and
"love," but the poetic phrasing does not allow us
to disconnect any parts of a word or any two
closely related words. ' ' Morning bells I ' ' would not
sound well, there fore the division "Morning bells" t
" I love to hear." This is a case of " breathing for
sense." In Ex. 69, the musical phrases of the first
line nat'irally divide bet ween m and r, each being two
measures in length. This breathing place is quite
suitable for the first and third verses, but it would
cut a word in two if it were used for the second or
the fourth. In the third line the musical division
suits the first and second verses, but if adopted for
the third and fourth verses would make the nonsense
"Shall foster and" t "mature the grain," and
"The angel reap-" f "era shall descend." The
practice of dividing the " announcements " for
Collective Reading at the breathing places, is of
great use in calling attention to this important
Ex. 65. KEY O. A round for four parts,
t t
subject. In every exercise of this step there
should be with the collective reading a discussion on
the correctness or doubtfulness of the breathing
places here marked, but the teacher will di-ciilc
for the whole class, so thatthe breathing may be with
one consent. A delightful effect of unity and clear ex-
pression is produced by this unanimity of breathing.
Bounds. Ex. 65, is a Round for four "parts."
The first "part" commences the Round alone, and
goes on steadily repeating it until stopped. When
thojirst "part" is going to strike the note under
the asterisk (*) the second " part " strikes the first
note of the Round, and so on. The third " part "
follows the second, as the second imitated the first. A
clap or some other signal of the teacher's hand tells
you when to stop a Round. It should first be learnt
from the modulator by the whole class as one part,
and should not be sung as a "round" till the third
step, unless the class has been very well practised
in maintaining the rate of movement. When the
whole class can sol-fa it " by heart," watching the
teacher's beat and keeping most exact time with
the stroke of his hand, let the class be divided
into four parts, and each part tested in the power to
sing separately. Even when this is fairly done,
the parts will still find it difficult to " hold
their own," as soon as the other parts enter.
The difficulty of maintaining the rate of
movement is very much increased when the
Round is in three-pulse measure or contains
divided pulses. It is this difficulty which
makes the Round so valuable an exercise in
time keeping.
Da Capo pronounced Daa Caapoa [oa as in
coal] and abbreviated D.C. means " return to
the beginning."
(is, : s.
d :d
s, : s,
d :d
r :
n :
r : rt :
1 1 Seot-land'e
burn - ing
Scot-land's burn - ing,
Look
out,
Look
out,
t t t
t t D.C.
^^
Us :-
s :
.---
s : :
ti : r d : d ti : r
d :d
M Fire!
Fire ! Fire !
Fire!
Pour on
wa - ter,
pour on
wa - ter.
Ex. 66. KEY D. A round for four parts.
t * t
t D.C.
hd :r
n : d
n : s
> ~
d'.d'rt.t
d'.s : n.d
s : a
d :-
\
1 1 Sing it
o - vcr
with your
might,
Never leave it,
Never leave it
U 'tis
right.
St. Co. (New.)
SECOND STEP.
Ex. 67. KEY C. A round for four parts.
17
d :s
]\Iorn-in:
t
s : s
bells I
n : s
love to
d> :
hear,
d' :r'
Ring -ing
n'.d':d'
merri-ly,
Ex. 68. KEY E.
"GONE IS THE HOUR OF SONG."
Round for four parts.
d 1 :d'.d
Gone is the
hour of
S
: s .s
Now let us
s : s
say to
s : t
loud and
all, good
B.C.
d 1 :-
clear.
J. C.
n :
night.
: n .n r : r
Sweet sleep & plea - sant dreams, Good night,
: n
: d .d s, : s.
Once more to all, good night !
B.C.
d :- - :-
Ex. 69. KEY G.
SOW IN THE MORN THY SEED."
A. L. C.
Words by James Montgomery.
: s,
To
O'er
: si
Shall
The
:d
n
: n
n : r
d :
- :t,
r :
n
r :d
ti :-
1. Sow
2. The
:d
in the
good f the
d :d
morn f thy
fruit - f ul
s, : s,
seed,
ground,
m, :
At
Ex-
: s,
eve fhold
pect not f
t, :d
not thy
here nor
si :n.
hand ;
there ;
s, :
3. Thou
4. Thence,
canst not
when the
toil f in
glo - rious
vain :
end,
Cold,
The
heat,f and
day of
moist and
God f is
dry,
come,
d :d
t, :d
m
: n
r
: s
s : n
r : r
d :
doubt and
hill and
HI : n.
fearf give
dale,t by
s, :n.
thou no
plots, 'tis
Si : d
heed, Broad
found Go
t : S (
cast it f
forth, then, f
n : d
o'er the
ev - 'ry -
d : t.
land,
where.
d :
fos - terf
an - gel
and ma -
reap - ers f
ture the
shall de -
grain, For
scend, And
gar - ners -\
heav'n cry 1
in the
" Har-vest
sky.
home.'
Ex. 70.
KEY B.
" FRET
NOT THYSELF."
i s, :
R|
: si
d
:t,
:d
n
:r :d
d :- :-
t, :
I Fret not
( PI, :d,
thy.
: HI
selff
HI
tho' thy
: r, : n,
way be fall
d, : r, : n,
drear
s, : : -
y
s, :
C" :
d
: n
r
:t.
: r d : n : r
r : : -
d
\ bright-er
( d :d
to -
:d
mor
t,
- row fis
: t : t,
dawn -ing fto
d : Si : Si
cheer
s, : : -
thee.
d
R.P.
: r
A
St. Co. (Xcw.J
Cease thy complaining f thy thoughtless t repining,
Tho clouds may be black, f but the sun is still t shining.
Though thou art hemm'd in f by mountains f of sorrow,
Stand still f a broad path f may be open'd f to-morrow.
18
SEC01TD STEP.
TIME.
The Medium Accent. Pupils will easily be
brought by examples and illustrations to notice that
in addition to the strong and weak accent, there is
also a medium accent to many tunes. The intro-
duction of the medium accent makes two two-pulse
measures into a four-pulse measure, and two three-
pulse measures into a six-pulse measure. This mark
| is used for the medium accent.
It will be noticed that several of the exercises
already sung, require (when not sung slowly) this
medium accent, in place of every alternate strong
accent. Let the pupils try Ex. 66 and 69, singing
them quickly and lightly. They will soon perceive
the natural necessity for a medium accent. The
teacher, however, must not expect too great a nicety
of distinction at first. The finer points, both of
time and tune, require much practice.
Four-pulse Measure. When the accents of a
tune are arranged in the order strong, weak,
MEDIUM, weak (as in the words "mMUWTAry,"
" plan^TAry "), and so on. it is said to be in the four-
pulse measure. The pupils will taatai on one tone,
as below, while the teacher beats, first slowly, then
quickly.
NOTB. When the pupil has learnt to hold his tones to their full length, and where nearly all the pulses are undivided,
it will be sufficient* to call a pulse TAA, omitting the AI.
II
A primary four-pulse measure.
TAA TAA TAA TAA
A secondary form.
:1 II
TAA TAA
U
Six-pulse Measure. When the accents of a tune
are arranged in the order strong, weak, weak,
MEDIUM, weak, weak (as in the words ' ' spi ri tu AL i ty,"
H
A primary six-pulse measure.
A secondary form.
H
Silent Pulse. It is more difficult for pupils to
appreciate time in silences than in sounds. There-
fore the silent pulse was not introduced in the
first step. The name for a silent pulse is SAA. In
taatai-ing, after the first time of gtAng through an
exercise, or as soon as the rhythm is perti-ctly
learnt, the silence-syllables should be less and loss
heard. M. Paris uses only the one word " Hush "
for all the silences. In dictation, as well as for the
purpose of first marking and measuring them dis-
tinctly to the mind, we find the advantage of a
.-oparate name for each silence corresponding with
St. Co. (New.}
Another form.
U
Another form.
U :1
TAA TAA
:1
1
TAA
"immutability "), and so on, it is said to be in six-
pulse measure. The pupils will taatai on one tone,
as below, while the teacher beats slowly.
Another form.
Another form.
1
TAA
the names we use for sound. Silences are denoted
in the Tonic Sol-fa notation, by the simple absence
of any name for sound. Even if an accent mark
is placed at the end of a line, a silent pulse is sup-
posed to follow it.
Pulse and a half Tones are very common and
easily learnt. They are named and written as be-
low.
Quarter Pulse Tones are more easily learnt
when the pulse is divided into four distinct quarters
than when it is divided into a half and two quarters
two quarters and a half or a three-quarter tone
SECOND STEP.
19
and a quarter tone. Therefore the " four quarters ' '
are introduced in this early step. They are thus
named, tafatefe [a is the short vowel for aa, and e is the
short vowel for aij] Thus the vowels still divide the
pulse as hefore. If the time-names are to become
aids to the memory, we must again repeat that even
in speaking hoth teachers and pupils should form
the careful habit of uttering them in their proper
time. Thus, TAA should be as long as TAATAI, and
" tafatefe " should occupy no more time than either ;
neither TAA nor TAI should have longer utterance
one than the other ; and tafatefe should form foui
exactly equal lengths. In the Tonic Sol-fa nota-
tion a comma divides a half pulse into quarters.
Let the Exercises 7 1 to 75 be (a) taught by pattern
and repeated, see page 7. The exercise may be
divided into two patterns if necessary. It should
be sung at at least two distinct rates, (b) Alter-
nated, see p. 7. (c) Laad, see p. 8. (d) Taataid
in tune, see p. 10.
Ex. 71.
II 1 -. :
8AA
KEY G. | d :
Id
KEY F. | s :
U
KEY A. | d :
Ir
Ex. 72.
Si 1 :
1
C 1 TAA
TAA
TAA SAA
|d :d.r|n :d
is :n.r Id : n
In :ti.r Id : s.
SAA
1
: 1 .1
1 : 1
TAA
TAATAI
TAA TAA
KEY A.
Is, : It,
: Id :s|.t(|d
: r
KEY F.
Is : |n
: Ir :t,.d|r
: n
KEY F.
In : |s
: In :r.tdr
:d
: 1 . 1 1 : - . 1 1.1:1
KEY G. |d :si | :d.r|n :-.d|t ( .d:r II
KEY F. |n :d | :r.dls :-.n|r.d:t, ||
KEYG. |r :s I :r.t||S| :-.ti|d.r:n ||
Ex. 73.
1 : - .1 : 1 .1 1 .1 : 1
TAA -AATAI TAATAI TAATAI TAA
KEY G.
I d : - ,t ( : d ,r | n ,r : d : | n .r -. d : s (
KEY F.
Id :-.r :n.s|t,.r:d : |t,.r:d : s,
KEY A.
In :-.r :d.t,|r.d:d : |r.d:v, :d |
St. Co. (New.)
TAATAI TAA
KEYB. |d :ti | :r.d!s ( :-.dm.r:d I,
KEY F. | n :r | :d.nis :-.t||r.d:d ||
KEYF. |n :d | :s.nin :-.rjn.s:s I
8AA
1.1:1 : 1 ||
TAATAI TAA TAA
KEY A.
Id : -.s :n.d|s,,t,:r : |s,.ti:r : t ( if
KEY A.
In :-.d: t,.d|n.r:n : |d.t,:d : s, ||
KEY G.
j s. : -.t,: r.t.l d.n : n : |n.s:s :n II
20
SECOND STEP.
Ex. 74.
1 :
1
1 .1 : 1 1 .1 : 1 .1
1 .
1 :
1
TAA
TAA
TAATAI TAA TAATAI TAATAI TAATAI
TAA
11,1.1,1 :
1 tafatefe
1 .1
TAATAI
1,1.1,1 : 1 .1 1,1.1,1 : 1 .1
tafatefe TAATAI tafatefe TAATAI
1 .1 :
TAATAI
1
TAA
KEY G.
I 5 ' !
si 81 .n : d S| .n : d .s (
8,
1
.n :
d
s,,si.si,s, :
Si .t i
t ,t ( .t| ,t| : ti .r d ,d .d ,d : d .n
r
.t, :
S|
KEY G.
|. :
s
s .n : d s .n : d .n
s
.n :
d
1 s ,s . s ,s :
s .n
n ,n .n ,n : n .d r,r.r,r:r .t, Id
.n :
s
Ex. 75.
1 TAA
1 .1
TAATAI
1 : 1 1 .1 : 1 .1
TAA TAA TAATAI TAATAI
1 t
TAA
1
TAA
11 :
1 TAA
1,1.1,1
tafatefe
1.1 : 1 1,1.1,1 : 1,1.1,1
TAATAI TAA tafatofo tafatefe
1 .1 :
TAATAI
1
TAA
KEY G.
1 J f J 1
:d | r .t,: r .t, | r : s, |d :n,r.d,r | m .d : d |r,d.t,,d
:r,d.t,,d
r .t, :
KEY E.
d :t..r|d
:m |t,.r:d m|r :s |d :t,,d.r,t,|d .m: n |t,,d.r,t,
:d,r.ni,d | r .s :
TUNE.
The Two Principal Chords. As the tones d m and
s, sung together form a chord, so do the tones 8 1 and
r I . Tile first we call the chord of Do h, the second the
chord of Soh. We always write chord-names in
capital letters, D, S. These two chords considered
separately and in themselves, are exactly alike.
Their tones are precisely at the same distances of
pitch one from the other, and if the chord S, or the
successive tones t r' were heard without the
sound of any previous chord of D, or succession of
d m 8, they would produce precisely the same effect
npon the mind. But as soon as we place two such
chords at a certain interval one from the other wo
establish a new set of relations, and so enrich the
mental effect. It is no longer one chord and its
St. Co. (New.)
u
interval relations which the ear perceives, but
two chords and their relations to each other, so
strong and rapid is the power of mental association.
That chord, in a tune, which is the first to occupy
the ear, rules the chords which follow. Thus in
Exercises 57 to 64 we were careful to " establish the
key " by making d m s heard before we could make
the mental effects of t and r felt. This relation
between D and S, that is between any chord and
that other which starts from its own highest tone,
is a peculiar and very important one. It is called
the relation between Tonic (D) and Dominant (S).
It is the chief element in key-relationship. These
two chords alone are sufficient to make music.
Many a single page of brilliant classic music con-
sists of the chords D and S.
Ex. 76.
SECOND STEP.
21
Thirds, Sixths, and Tenths. Most classes and
all self-teaching pupils will be glad to study the
harmony (or the sounding together of tones) as
they sing, and they will sing the better for doing
so. Intervals or distances between tones, are
generally counted step -wise on the scale always
including the two extremes. Thus the distances
between d and r or m and f are called a second,
those between d and m or r and f are called a third,
and so on. By counting, in this way, on the
modulator, it will be seen that from d to the m
next above is a third, from d to the m next below
(ffij) is an inverted third, or a sixth, and from d to
the higher octave of it am above (ml) is a tenth.
So also from 1 ( to d is a third (a minor or lesser
third) from 1 to d is a sixth, and from lj to d' is a
tenth. What are the intervals between m and s ?
m and S| ? m and si ? These intervals (which
are the third in various positions) form the sweetness
of all harmony, and are therefore, abundantly used.
In Exercise 69 find twelve thirds and six sixths.
In Exercise 80 find a sixth followed by a tenth.
Octaves and Unisons. Exercise 69 has its first tone
and its last, in both parts, the same, that is in identical
unison. At the beginning of the last line of words
it has an octave between the parts. These unisons
and octaves do not give the true feeling of harmony,
that is, separateness with agreement, and they
sire seldom used on a strong pulse where they would
be much noticed, but they are useful x a the flow of
the harmony allowing the parts to pass through
them to something sweeter or stronger, or bringing
them to a close on the key tone. Two such inter-
vals, one following the other, would make the
harmony disappear. Therefore, such a succession
is, as the pupil will notice, carefully avoided. In
speaking of unison above, we have referred to absolute
unison, but the word unison is also commonly used
to indicate the singing of the same tones, by male
and female voices, an octave apart, as in our " Vocal
Klang Exercises."
Eifths and Fourths. In Exercise 69 there are
two fifths (s, to r in both cases) and in Exercise 70
there is a fourth s, to d. The two tones of a fifth
agree with one another more perfectly than those of
any other interval except the octave, but they have
not the sweetness of the thirds. Their agreement
is somewhat hard and cold, though strong and sure.
They are, therefore, not very much used in two-
8t. Co. (New.)
part harmony, and two of them in succession are
the dread of all composers. Fourths are the inver-
sions of fifths (as sixths are of thirds) but are very
much less acceptable to the ear. They have neither
the perfect agreement of the fifths, nor the sweet
agreement of the thirds, and are much avoided in
two-part harmony ; even bald unisons and octaves
being prefered to them. Where used they are
found on a weak (and therefore, less observed) pulse
or on a strong pulse in places where they suggest
to the mind certain familiar habits of chords to be
hereafter explained.
Discords. Octaves, fifths, fourths, and thirds are
concords. Seconds, as f against 8, or d against r,
whether close together or separated by octaves
(that is, whether seconds, or sevenths, or ninths)
are discords. They sound harshly together. But
a Discord may be so sweetly introduced, and so
pleasantly brought to a close, and the "part"
which contains it may move so smoothly that
it is made agreeable. This is because the ear
naturally notices the motion of the two melodies as
well as the actual consonance or dissonance of the
moment. Thus, in Exercise 69, we have, on the
fifth pulse counting from the last, or the fifth-last
pulse, d dissonating against r, but it is so "prepared"
by its own previous "sweet" consonance witti m,
and so smoothly " resolved" by going down stop-
wise to t,, and there satisfying the ear with another
sweet consonance, that it cannot be called unpleasant.
It is only unpleasant when singers are afraid of it,
and so put themselves out of tune. Hence the
advantage of knowing what you sing. Find a
similar discord at the close of Exercise 78. A note
undergoes preparation when it is heard in a previous
chord as a consonance ; it undergoes resolution when
(being a discord) it moves down one step.
Passing Tones. As we have observed that the
weak pulse is less noticed by the ear than the strong
pulse, so is the second or weak part of a pulse less
noticed than the first part. Therefore, things may
bo allowed there which the ear objects to else-
where. Thus in Exercise 79, second score, third
measure, second pulse, we find an apology for the
dissonant r, because it is on the weak part of a
pulse, and because it moves smoothly step-wise from
one tone of the scale to the next. Find other ex-
amples of the same " part-pulse passing tone " in
the same Exercise 79
Ex. 76. Name, pulse by pulse, the harmonic
uJlervals of Exercises 69, 70, 77, 78, 79, and 80.
22
SECOND STEP.
Let the Exercises which follow, be taught with
the same process of Pattern from the Modulator,
first one part and then the other taatai-ing in tune
every difficult rhythm Sol-faa-ing from the book
laa-ing from the book collective reading of words
study of breathing places and singing to worda,
as before. Before each exercise, when the key -tone
is pitched, let the pupils sol-faa by the manual signs
the ttco chords, thus d m a, a t r> d 1 , or in middle
keys d S| m, i t t, r d.
Ex. 77. KEY A.
WHEN LANDS ABE
: s
When
: s.
:d
When
d : - .d|n : r
lands are gone f and
HI i - .HI! S| : S|
and
ii ;-.i
lands are
r
gone
: d |r : r
mon - ey's spent, Then
d :d
: - .n | n
2 In youth t the time we thus employ,
Is counted as t the richest joy.
t,
mon-eys spent, Then
Then
GONE.
n : - .n Is
learn - ing is
d : - .d 1 1,
s :d r
loam - ing is
t, : d Is,
learn - ing is
3 When little else t old age can cheer,
These harvests are t most rich and rare.
2. P.
: r
n
: r
' d )
tmost
ex
d
- ccl
: si
- lent. I
|pli
: - .r
n
: r
Id
tmost
: - .s,
ex
8,
- eel
- lent.
Id
tmost
ex
- eel
- lent.
Ex. 78. KBY B). M. 72.
FARMER JOHN.
'
s.
d : S| | n, : d|
s, : s, |s, :
s
t| :t| |d :d t (
(2'. Hard
3. Con -
^ s,
hale old man t is
work - er, too, t is
tent - ed soul \'\&
d : s i | r.i : d,
Far - mer John, A hap - py man is he;
Far - mer John, He la - hours ev - 'ry day,
Far - mer John, Light- heart - ed, gay, and free ;
si : s, |si : s, s, : s, |n, : d, si
: s.
d : s, |n, : d.
s, : s, |s, : s.
n : n |r : r d :
He
And
In
: s,
ris - es, t with the
as he ploughs, tor
win - ter cold, t or
d : s, |n, :d.
lark t at morn.And
sows the seed, He
sum - mer bright,He
sings right mer - ri - ly.
sings his cheer-ful lay.
whis- ties mer - ri - ly.
d, : d |t, : s, d :
| Tralala la la, la, la,
[181,81.81,81! S| 18, | t.
:
s, ,S|.S| ,S| : s, .d | n
Tralala la, la, la, la,
, in .n : r .r |n ,n
n /i : r .r d
.d :d .t, |d II
Mia la la la, t Tralala la la, Tra la
'Id, .d : t, .t, |d ,d .d ,d : t, .&< n,
la la la la.
.HI : TI ,T\ |d|
St. Co. (New).
A. L.C.
s,
Tra
.s,
SKCOND STEP.
Ex. 79. KEY F. M.
( s .s : s : n
76. Words by Fletcher.
n .r : r :
d .d : d : PI
A. L. G.
r .r : r :
1. Little flow'r with
2. Basking in the
n .n : n : d
starry brow,
gladsome beam ;
d .t : t, :
Slumb'ring in thy
Or, be- side some
d .d :d :d
bed of snow ;
murmuring stream,
Si .s, : t, :
3. Thee no wind nor
4. Type of truth, and
s .s : s : n
Or with light - ly
Gently bow - ing
n .n : n : d
Nor the slee - ty,
Close may sor - rows
storm can tear,
emblem fair,
n .r : r :
tinged ray,
from thy nest,
d .t, : ti :
sweeping rain,
hem it round,
From thy love - ly
Virtue strug - gling
d .d : d .r : n .r
mountain lair ;
through despair,
d : :
way.
breast.
d : :
plain,
ground ;
Winter gone & storms a-
Greet the water's sil- ver
d .d : d .d : d .t.
Root thee from thy native
Troubles bend it to the
r .r : r : n
r .d :
t, :
d .r : n : s
n .d : r ; '
Peeping from thy
Or mid fis - sure
t| .ti : t[ : d
couch of green,
of the rock,
s, .s^ : s, :
With thy mod - est
Hidden from the
d .d : d : m
simple mien,
tempest's shock,
d .d :t,
Winter's cold, nor
Yet the soul with -
summer's heat,
in is calm,
Blights thee in thy
Dreads no an - guish,
snug re-treat ;
fears no harm ;
s .s : s : n
n .r :
r :
d .d :d .r :
n .r
d :- :
How I love to
Vie with snow - y
n .n : n : d
see thee lie,
li - ly's bell,
d .t, : t, :
In thy low se - re -ni-
Queen and fai- ry of the
d .d : d .d :d .t,
ty.
dell.
d :- :
Chill'd by snow or
Conscious that its
scorch' d by flame,
head may rise,
Thou for ev-er art the
Planted 'neath congenial
same,
skies.
Ex. 80. KEY D. M. 60, twice.
n : : I n : r : n
COME, GENTLE MAY.
S t "~* """" ^~* ~~
May,
May,
May,
n : : | : :
n : s : s |n : s : s
Win-ter, cold win - ter f has
Chil-dren are long - ing f for
Deck with thy beau - ty t each
d : t, : t. d : n : n
d 1 :
A. L. C.
: It :r' :t
1. Come, gen
. 2. Come, flow'
3. Come, love
d : : |d :t
- tie
r y
iy
, :d
Come, gen - tie
Come, flow' - ry
Come, love - ly
n : : r : ti : r
d- :- :- |- :-
May,
May,
May,
n : : | : -
d 1 :
ling
ver
wav
n :
: n is : : \
er'd long
dant fields,
ing bough,
- : d it, : :
St. Co.
St. Co. (New.)
SECOND STEP.
t :t :t Id 1 :- :s
Now let thy balm - yt
Deck'd with thy flow'rs t so
Bring us the haw - thorn' sf
r : r : r I n : : n
s
breez -
bright
whit
n :
: n I r : :
es play ;
and gay,
cn'd spray ;
:d It, :-
d 1 :-
: n Is : -
birds'
sweet song :
res
ng
ence yields ;
'rest thou?
n :
:d |t, :-
) ling -
I" ^
Come,
Come,
Come,
d :-
Beating twice to the measure. Let Ex. 80 be
patiently taataid, while the teacher beats every
pulse, never pausing and never hurrying. Only
thus can the exact lengths of sound and silence be
appreciated. But when six-pulse measure moves
more quickly than this should do, each pulse is
regarded by the ear as a third of a pulse, and t
whole measure as a two-pulse measure with ample
use of " thirds." In this case the conductor beats
only twice in a measure.
Modulator Voluntaries are used at every lesson.
Ear Exercises, like those in "Hints for Ear
Exercises," and if possible, ear exercises in which
the pupil writes the answer, will also bo as con-
stant as the lesson hour. If tho teacher finds that the
pupils do not discover which is r easily, he docs
not either tell them or let them guess, but he
reminds them again of the mental effect ot r, and
illustrates over again the high rousing r and the
low prayerful r, and then again tests them.
After the Sol-fa prelude, the pupils must bo very
careful to note to which tone figure one f
They do not possess a sufficient clue unless they
catch the first note. The teacher should be very
careful to make his own pattern clear. One way
in which a teacher keeps all his class at work is
to cause all that can answer to hold up their hands,
and then to select those whose answers he wishes.
Another way is to give the proper answer and ask
all who wore right to hold up hands.
In time ear exercises the teacher 1st taataii with
accent two plain measures, then continuously loan
a rhythm of two measures on one tone, which he
requires his pupils to write or taatai. 2nd, he sol-
fau a short rhythm, and requires his pupils to
taatai it fw tune. Many of the old exercises and
some of the "Hints for Ear Exercises will give
him ready materials.
St. Co. (XcwJ
n : r : n
tie
- ry
gen
flow'
lov
d : t, : d
n : s : s In : s : s
Fill all the woodsf with the
Longing for plea-sure f thy
Beau-ti - ful May-time,twhy
d : t, : t, Id :n :n
s : : 1 s s
May.
May.
May.
in :
Dictation. Notation, and with it, clear percep-
tion, will be cultivated by Dictation Exercises.
The second part of Ex. 77, second score (or line), fifth
measure (always counting the first part of a mea-
sure as one) would be dictated thus: "TAA lower
t," "-AA-TAir" "TAAr" SAA " "SAA" &c.
>.x. 78, third score, first measure, would be dictated
thus: "tafatefe lower s, s, s, s," "TAATAI lower
s, lower t," "TAA -AA r."
Pointing from Memory and Writing from
Memory will still be practised diligently, as rccom-
mcndedatpage 12. The teacher who can appoint half
an hour before or after the regular class meeting
for memory pointing, memory writing, and dictation
exercises finds the interest of his class and the
accuracy of its knowledge ten folded. At the close
of every- lesson, one or two of the exercises should
bo chosen for the memory exercises bf tho next
meeting. Tho pupil should copy that exercise six
or ten times from tho book, until he finds by testing
himself that he can write it from memory. In tho
presence of the teacher, even at first, ten minutes
is sufficient for writing from memory on clear paper
without book. Meantime the teacher may walk
about his class to give advice or information In
less than five minutes the quickest have their exer-
cisesready. The teacher glances over them andmarki
them as suggested at page 12,andthe secretary credits
the marks in favour of each pupil, in tho class book.
The teacher can make remarks on the common
errors, or shew them on the black board.
Elementary Certificate. Pupils now begin to
make up their list of six tunes for the Elementary
Certificate. See Preface.
SUPPLEMENTARY EXERCISES for this step may be
found in Wall Sheets
SECOND STEP.
25
QUESTIONS FOR WRITTEN OR ORAL EXAMINATION.
1 Is the watchfulness of a Class-
teacher sufficient to form in his pupils
habits of position, &c. 1 Who must form
'ihern ?
2 What is the object of the " Chest
Exercises?"
3 In the "Vocal Klang Exercises"
what are the chief points of the pupil's
study 1
4 Describe the four steps of this ex-
ercise and the reasons for each ?
5 What is the special purpose of the
"Tuning Exercises," and what are the
three points to which the teacher will
give attention during these exercises 1
6 When the tonic chord is established
in the ear, what do you yourself feel
to be the mental effect of a high May
when sung somewhat slowly ? Describe
the effect in your own words, as nearly
as you can describe it, but be careful to--
describe only your own perceptions not
those of others.
7 In the same way, describe the
effect of a low Ray.
8 What mental impression do you
receive from a high Te 'I
9 What feeling is produced by a low
Tel
10 How do you distinguish vowels
and consonants ?
11 What kind of persons are com-
monly lazy in their use of lip and
tongue, and consequently indefinite in
their vowels and consonants ?
12 Why is the clear and marked de-
livery of vowels so important to the
singer ?
DOCTRINE.
13 In choosing breathing-places, what
consideration is more important than
that of the natural division of the mu-
sical line or section into phrases 1
14 Give an example (different from
those referred to above) in which
" breathing for sense" would contradict
the "breathing for phrase."
15 Give an illustration of " breathing
for emphasis."
16 Describe the "musical form"
called a Round.
17 What is the chief difficulty in sing-
ing a Round ?
18 Describe the Four-pulse Mea-
sure.
19 Describe the Six-pulse Measure.
20 What sign is used for the medium
accent?
21 What is the time name for a silent
pulse ?
22 What is the name for a tone a
pulse-and-a-half long ?
23 How do we name that quarter of a
pulse which occurs at the end of the first
half! that, at the end of the second
half ? that, at the beginning of the first
half ? that, at the beginning of the
second half ?
24 How would you dictate the last
three measures of Ex. 79.
25 When tones related to one another
as Doh, Me, and Soft are, or as Soh,, Te t ,
and Bay are, are sung together or in
succession, what is such a combination
called ?
26 When one such chord has been
first heard and has pre-occupied the ear,
if another such chord starts from the
highest tone of the first what can you
say of the relationship between them .'
27 Name or write a third, a sixth,
a tenth.
28 How are sixths related to thirds ?
How are tenths related to thirds ?
29 What is the quality in these inter-
vals which makes them so much used in
Harmony.
30 What is the difference between a
common unison and an identical r.ni-
son?
31 Where are octaves and identical
unisons useful in two-part harmony ?
32 What effect on the harmony would
consecutive octaves and unisons produce ?
33 Name or write two fifths, and two
fourths.
34 How are fourths related to fifths ?
35 Of fifths, fourth, and thirds, which
contain the nearest or most perfect
agreement of vibrations? Which the
sweetest ?
36 In what case are fifths avoided by
composers ?
37 Why are they not very much used
in two-part harmony ?
38 How are fourths regarded in rela-
tion to harmony ?
39 Name or write four different sorts
of Concords.
40 Name or write several Discords.
41 Describe how the Discords you have
heard are prepared and resolved.
42 Describe the passing tones you
i have noticed on the weak part of a
! pulse.
43 Hold a steady tone without taking
breath for ten seconds.
44 Sing Doh, Me, Soh, DoW, Doh\ Soh,
3Ie, Doh, in Keys D or C, to the " for-
ward" Italian Laa, as softly and as
pleasantly as you can.
45 Sol-fa any example you please
shewing the Mental Effect of high Bay 1 ,
of low Bay, of high Te, of low
Te.
46 Sing to words the upper part of any
one of the Exs. 65 to 70, chosen by
the examiner. Sing correctly as to
Time Tune and Pronunciation, without
breathiness of tone and with proper
breathing places. Marks should be
giver, for each of these four points.
47 Ditto with Ex. 77 to 80.
48 Sing to Laa the Kay and the Te, to
any Doh the teacher gives.
49 Sing to Laa the Hay' and the Te to
St. Co. fNew.J
PRACTICE.
any Doh the teacher gives you.
50 Taatai from memory any one of
the Exs. 71 to 75, chosen by the ex-
aminer.
.'51 Taatai the upper part of one of
the Exs. 77 or 78, chosen by the teacher.
52 Taatai-in-tune the upper part of
one of the Exs. 79 or 80, chosen by the
examiner.
53 Point on the modulator from mem-
ory (sol-faaing) any one of the follow-
ing lour Exs. 65, 66, 67, 69, chosen by
the examiner.
54 Follow the examiner's pointing in
a new " voluntary," containing Doh, Me,
Soh, Te and Kay, but no difficulties of
time.
55 Write, from memory, any other of
these exercises chosen by the examiner.
56 From any phrase (belonging to
this stage) sung to figures, tell your ex-
aminer (or write down) which figure was
sung to Rny, to Bay 1 , to Te,, to Te.
57 Having heard the tonic chord, tell
your examiner (or write down) which
tone of the scale (Doh, Me, Soh, Te or
Bay] was immediately sung to skaa. Do
this with two different tones.
58 Taatai any Rhythm of at least two
measures belonging to this step which
the examiner shall laa to you. He will
first give you the measure and the rate
of movement by taatai-ing two plain
measures and marking the accents
without beating time, but the two
measures you have to copy he will aim-
ply laa on one tone.
59 Taatai-in-tune any Rhythm of at
least two measm-es, belonging to this
step, which, after giving the measure
and rate as above, the examiner may
sol-faa to you.
26 Ex. 813.
THIRD STEP.
To execute more difficult Chest, Klang and Tuning Exercises. To recognize the a and b positions, and the
various constitutions of Chords, the resolution of the " Major Dominant," and the dissonance d <i'innt \ iti
S. To recognize and produce the Fourth and Sixth of the Scale. To observe the relation of speed of movement
to mental effect. To recognize the different sorts of voices. To recognize and produce one tone in absolute pitch
and one rate of movement. To pitch tunes. To select breathing places. To gain first ideas of Expression. To be-
come conscious of the great break from the thick or first to the thin or second register. To strengthen in men the
thin or second register. To recognize and produce half-pulse silences, various divisions of sound produced by
combinations of quarter-pulse and syncopations. To study the elements of Chanting. To recognize the partial
dissonance t f, and the unprepared dissonance f against s. To recognize the relative motion of two parts.
Ex. 81. CHEST EXERCISE. The same as Ex.
54, except that 15 seconds may now be expected
from all instead of ten. If the teacher is not quite
sure of being able to count M. 60, ho will use at
least a string metronome.
Ex. 82. VOCAL KLANG EXERCISE. To be used
with Manual Signs and with the same processes as
Ex. 55. After exercising in each key, let the
teacher test the pitch. There should be no flatten-
ing in these chordal exercises.
II'
KEY C, B and D. Vocal Klang Exercise.
d 1 :-
Ex. 83. TUNING EXERCISE. To be used with
the same processes as Ex. 56, taking care to secure
a soft tone, each part listening for the others and
learning to enjoy the perfect blending of the voices.
Ex. 85 and 86 to bo used in the same way, without
words.
KEY D. Tuning Exercise for three
d' : Is :d' t
n : Is
d : In
: n
:d
'equal" voices.
r 1
I
Positions of Chords. In connexion with the
toning exercises, a study of the " positions " and
" constitutions " of chords will promote thoughtful,
and therefore sure singing. Only the more intelli-
gent classes, or the more intelligent members of
classes will be expected to pursue this study.
When the tones of a chord stand one above the
other as closely as possible (as D when it stands in
tHc order d, m, s counting upwards, or S when it
stands in the order s, t, r) they are said to bo in
their normal position, the lowest tone being called
th(s Root, the middle tone its Third, and the highest
its Fifth. In Ex. 56, measures 3" and 8 D is in its
44 normal " position. In Ex. 83, measure 3, pulses
1 and 2 S is in its normal position. Let the pupils
listen to them afresh, and feel their strength. In Ex.
St. Co. (New.)
S
: s
d 1 :- I- :-
n :!:-
s, : It, : si
y .o- - y
83, measure 3, pulse 4, S has its root in the lowest
part, but is not in its normal position. When the
root is in the lowest part the chord, even if not in
its close normal form, the chord is in the position.
When the third is in the lowest part, the chord is
in its b position See Db in Ex. 85, measure 2, pulse
1, and SA in Ex. 83, measure 3, pulse 3. Lot the
pupils listen to them afresh and mark their compara-
tive weakness. When the fifth is in the lowest
part, the chord is in its c position. This will be
illustrated at the next step. The a position is best
and most used. The b position is much used to
make the melody of the lowest part smoother .,r
more pleasant. The. c position is only used in
cases, to be afterwards noted, but chiefly in the
close of a section, as in Ex. 85.
Ex. 846.
THIRD STEP.
27
institution of Chords. One or more of the
constituent parts of a chord may be omitted or
. doubled. In Ex. 56, measures 3 and 8 D ih <n>m-
plc-to. Completoieas we mark (when we wish to
mark constitutions) by a figure 1, thus Dal. See
Sal in Ex. S3, measure 3, pulses 1, 2, and 4.
The root (the most important tone of the chord) is
often and freely doubled. The trebling of the root
(not uncommon in four-part harmony) i&^narked Tiy
> 2. In Ex. 56 measure 7, pulse 2, the root is trebled,
indeed, the chord has to be supposed. If, however,
a third or fifth were added to this trebled root we
should call it the chord S2. The third, the source
of sweetness, is rarely omitted. Its omission would
be indicated by 3. The third is doubled frequently
in D, DC, Fn, and F< ; but in Db and Fb, where
the third is already made prominent by being in
the lowest part, its doubling (too much sweetness)
is avoided (See Minor Chords, page 46) except for
the sake of better melody in the parts ; and in S
the third cannot be doubled, because its t always
goes to d 1 of the next chord, and we should then
have the bald effect of two t's going to two d''s
consecutive octaves. See page 21. The doubled
third is marked by 4. It is quite common to omit
the fifth. Being so like the root, its presence or
absence is less noticed than that of the third. Its
omission is marked 5, its doubling 6. See Da5 in
Ex. 56, measures 4 and 7, and Ex. 83, measures 1
and 4.' See S5 in Ex. 83, measure 2, and S5 in
Ex.
/T\
d 1
85. KE
d':d'
Y C. '
t :-
?unin,
/>
. t
* Exerc
d':d'
ise, as a
d':t
bove.
d':-
n
s : n
s : -
S
s : n
n : r
n :-
d
rv : d
s : -
S
n : d
s,: si
d:-
measure 3. Omitted roots omitted foundations
are marked om, but we only interpret a chord as
having its root omitted when the habits of the ear
make it absolutely necessary tor us to think of the
absent root in such a place. See Ex. 83, measure 1.
Progression of 8. Notice that S seldom moires to
any other chord than D, its t going to d', its/ r to
m or d, and its s to d or s or more rarely to m.
See the close of Ex. 83, and Exs. 85 and 86. Thus
these two chords, which are in their own internal
structure the same, acknowledge a relationship to
one another. S proves itself the clinging depen-
dent on D. But, like other dependents, it is said
to dominate that is to rule the key,-^and is called
the Dominant. In fact, its clear declaration of
allegiance to D decides the key. Wherever, in the
region of pitch, two such chords thus cling together
there is a key. Let the pupils listen afresh to the
softly load close of Ex. 83.
The Chord Four Soh. Notice, at the close of Ex.
86, the dissonance d against r occurring in the
chord of S, the third of the chord being omitted
to make room for it. It would be counted as a
fourth in this chord. We call the chord " Four
Soh," and write it thus 4 S. In this case the posi-
tion is a and the constitution 3.
Ex. 84. Name, pulse by pulse, the chords, with
their positions and constitutions, of Ex. 85 and 86.
Thus Dad, Sal, &c.
Ex.
n
86. KI
n : r
Y G.
n : -
Tunin
/r\
n
g Exerc
r :d
ise, as a
r : r
bove.
n :-
d
d :t,
d :-
d
ti : d
d: t.
d:-
d
d : si
d :-
d
si :PI,
s,: si
d:-
L/ froms to AX. i
'From ail-that dwell -be | low the skies
Let the- Ore | a tor's praise a rise
Words to Er. 85 to be taught at Ex. 110.
'E ternal are-thy | mer cies Lord
'E ter nal | truth at tends thy word
Let the-Re deem er's | name be sung
Through every | land by ev' ry tongue
Words to Ex. 86 to be taught at Ex. 110.
'Thy praise-shall sound 'from | shore to shore
Till suns-shall I rise and set no more
Glory-to thee-my God-this night 'for all-the
blessings | of the light
Keep-me-O keep-me King-of Kings 'be neath-
thine | own Al might y wings
For give-me Lord-for thy-dear Son 'the ill-that
I-this. | day have done
That with-the world-my self-and thee . I
ere-I | sleep at peace may bo
St. Co. (New.)
Teach-me-to live-that I-may dread 'the grave-as
little | as my bed
Teach-me-to die-that so-I may . rise glorious
| at the judg ment day
'0 may-my soul-on thee-re pose 'and with. sweet
sleep- mine | eye lids close
Sleep-that -may me-more vigorous make 'to
serve-my | God when I a wake
' / -
28
THIRD STEP.
Ex. 8796.
The Hold (/r\) signifies that the note below it
may be held as long as the conductor or singer
pleases.
Mental Effects of Fah and Lah. The mental
effects of these tones are developed with the same
process which was used for t and r, page 15.
The manual sign for fah is the hand firmly
pointing downwards. The manual sign lor lah is
the hand hanging down from the wrist.
Ex. 87. KEY A. Effect of high Fah.
Id .t, :d .r |n :d |f :- ||
Ex. 88. KEY A. Effect of high Fah.
|d :n |t, :s, |f :f In : - ||
Ex. 89. KEY A. Effect of low Fah.
Id .t, :d .r |n :d | f, :- li
Ex. 90. KEY A. Effect of low Fah.
Id :t,.d|n.r:d | f , : f , | s, : - ||
Ex. 91. KEY G. Effect of low Lah.
|d.r:n.t,!r : 1, |d : t, | 1, : - ||
Ex. 92. KEY F. Effect of low Lah.
:s, |d :n :d |1, :- : t, Id :- ||
Ex. 93. KEY D. Effect of high Lah.
:d In :s It :1 |1 :- Id 1 ||
Ex. 94. KEY D. Ditto.
Id :n Is :n |1 :- |s : - ||
Ex. 95. KEY A. Effect of Fah and Lah.
Id :B, In :d 1 1, :f |n :- II
Ex. 96. KEY D. Ditto.
Id :s |n :1 |f :s id : ||
Speed of movement and mental effect. Hitherto
we have studied the mental effect of tones when
sung slowly. Let the pupils sing any exercise
containing lah and fah very slowly indeed, and
notice how their mental effects are brought out.
Then let them sol-faa the same piece as quickly as
they can, keeping tho time and observing the
change. Lah and fah are now gay and abandoned
St. Co. (New.)
instead of weeping and desolate in their effect, and
the other tones undergo a similar modification.
Let the pupils try in the same way any other tunes
which are deemed most characteristic. They will
thus discover for themselves that great speed of
movement makes the bold tones (d m s) sharper in
their effect, though still firm ; and makes the emo-
tional tones (r f 1 1) more bright and lively, but
leaves them still the emotional tones of the scale.
Handel in his songs calls " to arms " chiefly by the
use of d m s, but he also employs d m s with great
rapidity of movement to express the abandonment
of jolly laughter. Emotional laughter, however,
he expresses by the rapid use of t r f 1. It is also
well known how effectively his songs employ these
emotional tones in their slow and more serious
moods. Ex. 113 includes good illustrations of
f and 1 in both aspects. In measure 3, pulse 2, and
measure 4. pulse 2 wo have the quick fah in its
lively, abandoned spirit. In measure 5, pulses 1
and 2 we have the slower fah in its more solemn
effect. In measure 7, pulse 1 we have the quick
lah in its brilliant emotion. In the second-last
measure we have the slower lah in its loving, earnest,
serious emotion.
The Scale. We have now studied a key-
tone with its six related tones. Seven tones
thus related to each other are called a scale.
The successive tones of the scale ascending
in pitch are, drmfsltd descending,
d'tlsfmrd. The pupil must now prac-
tise himself in repeating the names of the
notes, in their successive order both in ascend-
ing and descending, d m and s are readily
classified as the bold and strong tones of the
scale, and t r f 1 as the leaning tones. Of
these last t and f have the strongest leaning
or leading tendency, t leading upward to d',
and f downward to m. Of the intervals of
this scale and its harmonic structure, more
at the next step.
The Standard Scale of Pitch. Hitherto the
teacher has fixed the pitch of the key-tone. Tho
pupils themselves should now learn to do it in
turn. Any conceivable sound can be taken as a
key-tone, and the relationships of chord and scale,
which we have already studied, will spring out of
it. But, it is found convenient to have one
standard scale of pitch tones by which others may
be gauged. For this purpose a certain tone called
tenor or middle C, which stands high in a man's
voice low in a woman's, and is producible by a
cl'
t
I
THIKD STEP.
29
stretched string giving 256 complete vibrations in
a second, is fixed upon as the standard, and its
scale is called the " standard scale." This is given
at the side. The octave of this tone C 1 (512
vibrations) is usually given in tuning-forks ,
for vocal purposes.
Pitching Tunes. The pupil strikes the "
C 1 tuning-fork, and runs down to the
tone he wants. That tone he swells out, *
and then repeats it to the ayllable-doh. At
first it will help the pupil's memory to
notice that he has to spell the words " bag "
and " fed " in running down this scale,
thus : i
Id 1 :- It :1 Is :f In :r |d :- || D
C' SAG fUDC
Eemembering C 1 . It is much more easy ~
to fix on the memory one tone in absolute
pitch than is commonly thought, and it is
a great advantage to be able to do so. Frequently
the teacher asks his pupils to sound C ; (which in a
man's voice is really C) and then tests them with
the tuning-fork. In this way the power of recol-
lection is soon developed. In estimating the
chances of certainty, however, we should always
bear in mind that any bodily or mental depression
has a tendency to flatten even our recollections.
Classification of Voices. In the following ex-
ercises the parts are not kept within so close a range
as before. It will not now be possible to " exchange
parts." It is therefore necessary that the teacher
should (either himself or by his assistants) examine
every voice in his class and divide them into higher
and lower voices. The female and children's voices
are naturally pitched about an octave higher than
the men's. The pitch tone G- stands at about the
middle of the range of female and children's
voices. In examining these voices, the teacher
pitches this tone as a key tone and requires the
pupil to sol-faa, first upward and then downward
from it. If the fuller more beautiful and more
easily produced tones of the voice lie above G it
may be classed as a high voice. If the best tones
of the voice lie below G, it may be called a low
voice. Cultivation may afterwards make a dif-
ference, but this simple mode of classification
answers our present purpose. The high voices of
women and children are called Soprano (pro-
nounced Sopraano) ; the low voices, Contralto.
The G, an octave lower than the last, serves to
divide the men's voices in the same way. It is
the quality of the tones above and below G
St. Co. (New.)
or G,, not the present reach of the voice, which
decides the question. The high voices of men are
called Tenor ; the low voices, Bass.
The Compass of Voices upward and a
downward varies greatly, and is not ,
a sufficient test of their fitness for
the high or low "part" in the music,
but it is useful to bear in memory that
the easy compass of most voices is about
an octave and a half. Basses and Con-
traltos easily compass one from G 3 to
C, the other from G, to C'. Tenors and
Sopranos easily compass one from C,
to F, and the other from C to F'. Voice
trainers commonly give the name Mezzo-
pronounced Metso) Soprano to voices
which seem to be between Contralto and
Soprano, and Baritone to voices which j
are neither Bass nor Tenor. But the &
most scientific of them have reached the |
conclusion that true medium voices are j
comparatively rare, and that those |'
UVUl^JGUroUVOAjr ICUCy CU1U LIUIU MUHJBQ
which seem so are commonly only un- !
cultivated Tenors or Contraltos, the
high part of a man's voice and the low
part of a woman's being the most liable
to neglect. The diagram, at the side,
shows the common easy compass of
voices as given above. The difference
of the type in the letters and the double
printing of F, E, D is explained under
the heading " Registers," p. 32.
D<
G
E E
D D
C
I;
D,
C,
B 2
A 2
Octave Marks. The pitch of doh is
always taken from the unmarked octave
of the Standard Scale, and this d with
the scale above it are without octave
marks. But, to save the unnecessary
multiplicity of octave marks both in
writing and printing, the Tenor and
Bass part are always written an octave
higher than they really are. In quot-
ing octave marks, as in dictation, it may
be useful to distinguish the higher
octave marks by naming them before
the note, and the lower by naming them after,
thus D 3 "two-D" D 3 " D-two " G 3 " three
G" C| " C-one," &c. It will help the memory to
notice that the higher comes first. Thus, we sav
that the easy Bass compass is, as above, " from G-
two to unmarked C," that of the Contralto "from
G-one to one~C," that of the Tenor "from C-one to
30
THIRD STEP.
unmarked F," that of the Soprano "from unmarked
C to one-F."
Men's and Women's Voices. Ask a man to sound
the same note as a woman, girl, or boy, or ask them
to sing together the air of a tune, and they will sing
an octave apart. If you doubt this, get the woman,
girl, or boy, after sounding what is commonly called
the same note, to sing down the scale an octave ; the
man then resounds the note he first struck. The ear
will then feel that these two sounds last struck are
really in unison, and that what commonly goes by
the name of unison is really octaves.
Naming of Parts In the titles of tunes the
initial-letters are used to name the parts, thus :
S for Soprano, C for Contralto, 1 for Tenor, and B
for Bats.
Breathing Places. After Ex. 113, the breathing
places are no longer marked, but if the markings
already given have been carefully studied, the
pupils will be able to mark breathing places for
themselves. Before the words are read collectively
the class should do this under the guidance of the
teacher, who will often remind them of the prin-
ciples laid down, page 16. In addition, it may be
noticed that if one wishes to take breath before a
strong pulse, the time of the breath must be taken
from the end of the previous weak pulse ; but that
if one wishes to take breath before a weak pulse, the
time of it may be taken away from the beginning of
the same pulse ; that it is not only convenient but
necessary to take a good breath before all long
sustained tones or long connected passages. In
sol-faaing or laaing breath should still betaken "for
phrasing." This will lead to a study of the musical
phrases. The importance of taking breath for clear
soft "emphasis" will appear in such Exercises as
97, where the purity of the tone on the first dl will
be wonderfully improved by requiring a breath to be
taken before it.
Expression is such a use of loudwss and softnes*
in singing as tends to make the music more expres-
sive. Even in the earliest steps, pupils enjoy thus
embellishing their music. In the fifth step the
subject is more fully treated. Here it is enough to
draw attention occasionally to what is indeed the
chief part of expression that which is suggested by
the words. In our Tonic Sol-fa books we early
adopted the plan of using type-marks for this kind
of expression. First, there must be fixed the medium
or normal degree of force proper to the general
sentiment of the piece to be sung ; then whatever
words are printed in the common type are to be sung
with that appropriate medium force, whatever words
are printed in small CAPITALS are to be sung louder,
and whatever words are printed in italic* are to be
sung more softly. In writing, a single line is drawn
under the words for italics, and a double line for
small capitals. These marks of the pen can be easily
added by the student to his printed copy. In Ex.
97, the general sentiment of the words is subdued
and prayerful ; therefore the common type indicates
soft singing, but in the last two lines the spirit of
earnestness rises to a climax, and demands greater
force of voice. The general spirit of Ex. 100 is soft
and gentle, but it should begin very softly increasing
in force as the phrase ascends. Ex. 101 and 102 also
open with ascending phrases to be treated in a similar
way. Continuous or repeated tones, as in the second
line of Ex. 103 and in Ex. 65, suggest the same
treatment. Notice that any tun$s like Ex. 102 and
103 which require a light and tripping style, require
also a soft voice Observe, in all these cases, how
useful this distinction of loud and soft is in marking
out the musical phrases or in " phrasing."
Ex. 97 to 103 should now be taught in the same
manner as before, except that previous to each exer-
cise, the teacher will put the voices in tune by
causing his pupils to sing, after his manual signs,
for a low key-tone, d m s f 1 dl s t r 1 d' and
for a middle key-tone d 8 ( m d ti 1 ( d s, t, r d.
SUN OF MY SOUL.
Ex. 97. KEY C.
Mainzer.
l.Sun
IWhen
:n
3.A -
4. Come
s :s |d' :t
of my soul.t thou
the soft dewst of
n :n |d :r
bide with met from
neart and bless us
Sa - viour dear, It
kind -ly sleep My
f :f |n :d
morn till eve, For
when we wake, Ere
f is |n :d'
is not nightf if
wear-ied eye - lidst
r :t| |d :n
with -out theet I
thro' the worldfour
t :1 Is '
thod be near :
gen - tly steep,
r :d jti
can - not live :
way we take :
St. Co. (New).
: s
Oh
Be
: S
A -
TILL
s : s Id 1 : t
may f no earth - born
my last thought, t How
r,
: s
bide with me t when
IN THE O - CEANf
THIKD STEP. 31
1 :1
Is : s
1 :t Id' :n'.r'
di :t id 1
cloud a
sweet to
1 :f
. rise, To
rest For
|n : n
hide thee f from thy
ev - er f on my
f :r |n :f
ser - vant's eyes.
Sav-iour's breast!
s : -.f in
night is
OP THY
nigh, For
LOVE WE
with - out thee f I
LOSE OUR - SELVESflK
dare not die.
HEAV'N A-BOVE.
Ex. 98. KEY G.
d : n Is : s
La - hour's strongfand
No de - spond - ing,f
LABOUR'S STRONG AND MERRY CHILDREN.
1 :s
No
Round for two parts.
mer - ry chil - dren,
re - pin - ing!
: n !r : d
Com - radesfof the
Lei - sure must t by
t, :d |r :
ris - ing sun,
toil be bought ;
s :-.s|f :-.f
Let us sing f a
Nev - er yet t was
: - .PI I r
: r
song to-ge - ther,
good ac-com-plished,
d : s, | 1 ( : t.
Now our toil f is
With-out hand f and
done,
thought.
D.C.
il
d
All
ALL THE SPRINGING FLOWERS.
Ex. 99. KB? F. Eound for two parts.
:r |n :f
the spring-ini
d 1 : 1 Is : f
All the stars a -
f :
How - -
n
ers,
bove,
Are
n :f
All the
1 :f
s :
fruit - f ul
: t,
tell - ing God is
t :
show
- ers, )
D.C.
-Id :
love.
Ex. 100. KEY D.
d .r : n .f | s :
Lulla-lul-\a. -by,
LULLABY.
Round for two parts.
d' :d' |t :
lul - la - by,
is :-
lul - la - by,
f :f
Sweet-ty
In
sleep
:n *
with )
r
M
: r
la
f
lul
f
la
n :-
lul - la -
f : f In : n
Sweet - ly sleep with
St. Co. (New.)
r
M
r
it
Id
by.
D.O.
THIRD ST1CP.
Ex. 101. KEY G. Round for four parts.
DOH, BAY, ME.
(Id :- I- :-
' 1 Loh,
Ray,
Me,
f :- |-
FAH,
.
1
Us : s |1 :s
' I HOLD YOUR HEAD UP
f :f |s :f
in sol - faa - ing,
n : n | f : n
O - pen well your
t
r : r |n
mouth in laa
B.C.
: r
ing.
WHO COMES LAUGHING?
Ex. 102. KEY E>.
Hd : d |r : r
Who comes laugh - ing,
Round for three parts,
t
n : n |f : f
laugh-ing, laugh-ing,
s : d 1 |s : n
Who comes laugh-ing
i-
r : d .r! n
here a - main
P
* t
Hn :n |f : f
We come laugh - ing
s .s : s .s | s .f : n .r
Ha,ha,ha,ha,ha,ha,ha,ha,
d : s |n : d
We come laugh - ing
s, : s, |d
hero a - main
t
t
( 1 s .s : s .s| s .f : n .r
f 1 Ha, ha, ha, ha, ha, ha, ha, ha,
d .d : d .d|r .r : r .r
//a, ha, ha, ha, ha, ha, ha, ha,
t
n .n : n .n| s .s : s .s
lla, ha, ha, ha, ha, ha, ha, ha,
s .f : n .r |d
Ha, ha, ha, ha, ha.
B.C.
GLAD HEARTS AND FREE.
Ex. 103. KEY A. I
nd : r : ti
f | Glad hearts and
mind for four parts,
d : :
free,
*
n : f : r
Come sing u'ith
n : :
me.
MS : s : s
< 1 J ..-I, la, LA,
s : f .n : r .d
LA, la, la, la, la,
si : Si : Si
Well wo A -
d :- :
GREE.
D.C.
Registers. In the highest part of the compass
of men's voices, and in the lowest part of the com-
pass of women's voices, may be noticed a remark-
able change in the quality of the tones. The place
where this change occurs is called "the great
break." It is in all voices between F and G. The
break arises from the different way in which the
tones are produced in the larynx. Below the break
the tones are produced by what we may call the
first or thick register of the voice, above the break
by the second or thin register. In women's voices
there is a yet higher register, beginning with g',
which we may call the third or small register.
These registers of the voice are indicated on page
29, the "thick" register being shown by large
capital letters, the " thin " by ordinary small
St. Co. (New.)
capitals, and the ' small " by common letters.*
Optional Tones. Although the lower registers
cannot be forced upward, beyond the limits men-
tioned, without injury to the voice, the higher
registers can in all cases be used some way below
their proper limit. So much is this the case with
the thin register, that the three tones F, E, and D
are called optional tones, and the pupil is advised
to exercise his voice in order to equalise tin; quality
and power of these three tones, and to use either
M-^-i.stcr interchangeably. In women's voices it is
this thick register at the bottom which is commonly
found to be uncultivated, and in men's voices it is
the thin register at the top which is commonly left
untrained.
Italic capitals shew the Upper thick and thin registers.
Ex. 104.
THIRD STEP,
33
Recognition of the Lower Thin Register.
It will bo seen from the scale, p. 29, that women
naturally use this register in the middle of their
voices and have no difficulty in recognising it,
that, among men, Basses have little need for it
except for solo singing and for any part-music
which demands an uncommon compass of voice,
hut that Tenors require a careful cultivation of this
register and of the " optional tones." It may also
be noticed that Contraltos require a special culti-
vation of the first or thick register, but that is
deferred till the next step. In order to enable men
to discover and recognise the thin register, the
teacher causes them to take a loud tone for doh
(say D) , which is decidedly within the thick register,
and then guiacs them by his manual signs to sing
the chord slowly, thus, d m s. If he allows them
to sing the soh softly, they will instinctively produce
it in the thin register. Having once found that
register, it will not be difficult for them to continue
the same quality of tone in a downward phrase like
the following, s f m r d. Having got back to the
doh in the thin register they may then take breath
and sing it again in the thick. Of course the pupils
can take A| or G| for their key-tone. They will
then have to follow the manual signs thus, d m s d 1 ;
d' will be delivered softly in the thin register,
and the descending passage in the same register
would be d 1 t 1 s f m r d. It is better that all
the men's voices should go through this experiment.
Strengthening of the Lower Thin Register. Ex-
ercise regular exercise strengthens the tones of
this register so as to make them blend easily into the
tones of the stronger register. Like all other exer-
cises intended to strengthen th e muscles . it must have
something of force and violence in it, a marked shock
of the glottis (see p. 1) , but must not be over-strained.
For strengthening the legs a run is better than a
walk, but ot-er-exertion does more harm than good.
Therefore the necessity in the following exercise of
using well the forceful staccato syllable koo. It
will be remembered that a new combination of the
delicate muscles of the larynx is required for every
conceivable sound which it produces and that all
these muscles and combinations of muscles have to
be exercised. Hence, the necessity of using this
exercise in various keys, so as to bring intervening
tones into play. Ex. 104 should be first sol-faad
with the manual signs ; second, sung to koo
five or more times, much more quickly and force-
fully ; third, sol-faad again. On sol-faaing the
second time the quality of the tone will be found
St. Co. (New.}
to be very much improved. But care must be
taken not to fatigue the voices. At first five koo-
ings will do this, and there must be a rest before
the exercise is used in another key. The first
and second keys will bo quite fatiguing enough
at first. The keys are so arranged that without the
use of the tuning-fork the teacher can pass from
one to another. For example, after exercising in
key B, he strikes ray, calls it doh, strikes the chord
and proceeds with the exercise again. After thus
using what is called the key of C sharp, he strikes
te,, calls it doh, strikes the chord and proceeds
with the exercise in key C. In the same way the
ray of key C will give him key D. This exercise
should be used for a very short time, at every future
lesson of this step. If the class is a mixed one, women
should join in this exercise, which lies in the lower
compass of their voices, and is easy to them. They
will encourage the men's voices, and prepare them-
selves for a blending of the thick and thin registers
at the next step.
Ex. 104. To strengthen the Lower Thin Regis-
ter. To be sung in the highest part of men's voices,
and the lower part of women's voices.
KEYS B, CJ, C, D.
S
n
n
TIME.
ti :-
The Metronome (pronounced mctronoani) is an in-
strument for regulating the rate of movement in a
piece of music. It is a pendulum which can be
made to swing at various rates per minute. M. 60
placed at the beginning of a tune in the Tonic
Sol-fa notation means " Let the pulses of this tune
move at the rate of 60 in a minute." The stroke
of the metronome is the moment when it passes
the lowest point of its arc. In the case of very
quick six-pulse measure, the metronome rate is
made to correspond not with pulses but with half
measures " beating twice in the measure."
Sustaining the rate of Movement. When a
tune, as in psalmody, is intended to be sung to
several verses, the singers may vary the rate of
movement according to the sense of the words, and
in simple songs this rate of movement may be
occasionally accelerated or retarded to suit the
sentiment. But even this power of varying the
rate of movement with any good effect depends upon
a previously gained power of sustaining the rate of
movement uniformly. Exercises for the cultiva-
34 THIRD STEP.
tioa and testing of this power are frequently in-
troduced. The teacher causes his pupils to taatai
on one tone a simple measure, thus, TRAA TAA
TLAA TAA, repeating it steadily, say six times
with the metronome, so as to get into the swing. He
then stops the metronome and they continue holding
the rhythm steadily for another six measures.
Just at the stroke of the first pulse in the next
measure he lets his metronome go, and then the
class immediately see whether they have sustained
the rate. Accomplished musicians say that this
power of sustaining a uniform speed is one of the first
and most important musical elements. The irregular
and ever-varying speed of movement, without any
apology, on the ground of Expression, which many
organists and precentors indulge m, is very painful
to practised ears.
Remembering M. 60. It is quite common among
Tonic Sol-faists to be able by habit to form a concep-
tion in their own minds of the rate of movement given
in the title of a tune, without referring to a metro-
nome. This power is gained by first fixing in the
mind the rate of M. 60 as a standard of comparison.
Then, twice that speed, M. 120, or a speed half as
fast again, M. 90, are easily conceived. Even some
intermediate rates are recollected with considerable
precision. To fix M. 60 in the mind, the teacher
frequently asks his pupils to begin taatai-wg at what
they conceive to be that rate, and then tests them
well with his metronome. The recollection of rate
of movement is, like the recollection of pitch, af-
fected by temperament of body and mood of mind.
But these difficulties can be conquered, so that de-
pression of either kind shall not make us sing too
The silent half-pulse is indicated by the absence
of any note between the dot which divides the
pulse in two and the accent mark. It is named
SAA on the accented and SAI on the unaccented part
of the pulse. See Exa. 105, 106, 107.
The three-quarter-pulse tone is indicated by a
comma placed close after a dot, leaving a quarter
to fill up the pulse. It is named as below, TAAfe.
Ex. 105. Slowly, and quickly.
With lighter accent and quicker speed TAAfe is the
same thing as TAA-AA-TAI. And this is the same
thing in small as TAA-AA-AA TAA. The teacher
causes such an exercise as 71 to be sung quit kly
and lightly.
Two quarters and a half are indicated by the
use of the comma and dot, as below, Ex. 106. Thin
pulse-form is called tafaiAi. It is the sum.
in its nature with the larger and more strongly
accented time-forms TAATAI TAA and TAA TAA TAA
-AA. The teacher causes such exercises as 72 to l>u
sung rapidly.
A half and two quarters are indicated as below,
Ex. 107, and are called TAAtefe. This pulse-form
is the same in its nature as TAA TAATAI and
TAA-AA TAA TAA. Sec Ex. 76
Syncopation is the anticipation of accent.
requires an accent to be struck before its regularly
recurring time changing a weak pulse or weak
part of pulse into a strong one and the immediately
following strong pulse or part of a pulse into a weak
one Its effect in time is like that of a discord in
tune It is a contradiction of the usual and ex-
pected. Both the discord and the syncopation
should be boldly attacked and firmly held by the
voice, just as one grasps a stinging nettle to
master it. Insufficient definitions of syncopation
have led many singers to strike the new accent,
indeed, but also to retain the original strong accent
on the immediately folio wing pulse. This common
misunderstanding entirely destroys the intended
effect. In Ex. 108 the first line shews how synco-
pations are commonly written, and the second line
shews the real alteration of accent which they
create and the manner in which they should be
sung. Note that it is difficult to "beat the
measure" in the ordinary way (see preface) during
syncopations, because they seem to contradict the
beating. It is easier to beat simply pulse by
pulse.
Exs. 105 to 109 should be taught as above, pp. 7,
8, and 19, especially with " time-laa-ing," p 8.
1 .1
.1
1 .1 :
TAATAI
SAA-TAl
TAATAI SA
KBY F.
n.r : .d
Ir.d: Is
. f : n . | n .r : d .
KHY Q.
s : . : t
,d.n: if
.r:t,. |B.n:d.
St. Co.
(New).
TAATAI
KBY F.
| s.r, : .lls.n:
TJLA.SAI TAATAI TAA5J7
Is.f :r I f .n : d . ||
KEY
n.s:
f.l:
f.r.f. |n.d:n.
THIRD STKP.
85
Ex. 10& Slowly, and quickly.
ul .1,1 : 1 .1 | .1:1
\ I TAAtefe TAATAI
SAA1A.I
1,1.1 : 1 .1 |1
tafaTAI TAATAI I TAA&4/
KEY Q.
d.r.n: d.S|| .l ( :
: f .n|r. :d
KEY F.
|s.f,n:r.n| .f :n |n,r,d : t,.d | n. :r
KEY G.
n.s,f: n.d | .f : r |n,s.f : n.d 1 1|. :d
KEY C.
s.l,t:d'.s| .1 :s
': t.s |f . :n
Ex. 107. Slowly and quickly.
1 .1,1:1 .,111,1.1,1:1
TAAtefe TAAfe I tafatefe TAA
1 .,1:1 .,111 .1 :1 .1
TAAfe
TAAfe
KEY F.
|s .f,nr.r .,d|t,,d.r,m:f
KEY D.
|d .r,m:f .,m|r,m.f,s:l |s ,,f:m .,r|s .f :n .r
KEY D.
|m .f,s:l .,t|d',l.s,m:r |d .,m:r .,f IPI .s :f .1
Ex. 108. Slowly and quickly.
) TAA TAA TAA TAA -AA TAA TAA TAA
.f :s .m fl
|s .m,d:s .,d|s,f .pi,r:m |r .,f:m .,d|f .1 :s ,m
-AA TAA TAA
Ex. 109. Skwly and quickly.
I :1 1 .1
, ,
.1 11.1 :-.! l-.l :1 .1 II
TAATAA TAATAI TAATAI -AATAI -AATAI TAATAI TAA
Chanting is the recitation of words on a single 1
tone with, a musical close or cadence at the end.
The chant of English origin, called the Anglican
Chant, has either two reciting tones with cadences,
in which case it is called a " single chant," or four
recitations with cadences and is called a " double
chant." The most important rule in reference to
chanting is that the music should be well learnt
'by heart" before any attempt to apply words to
it. The chant is commonly and properly applied
to prose words (see next step), but the chanting of
hymns is not out of place when the hymns are very
long. It also forms a good exercise preparatory to
the art of prose-recitation. The rhythms are so
St. Co. (New.}
simple and admit of so little variation that attention
can be almost exclusively given to distinct and
sharp utterance.
The division of words for Chanting is commonly
made simply by placing a single bar where the
cadence begins and a double bar where the cadence
ends. In addition to this there have been many
contrivances for guiding the manner of the recita-
tion so as to secure appropriate breathing places
and to prevent confusion. Our Tonic Sol-fa teach-
ings naturally suggest the division of the whole
into pulses. Our simple rules are that the syllables
which ktmid together whether joined by hyphens
or otherwise are to be sung in one pulse, that
36
TlilKD STEP.
Ex. 110
this mark ' before a syllable denotes a silence on
the first half of a pulse and a convenient breathing
place, that this mark . denotes a silent pulse, and
this the continuation of a sound. In Ex. 8-5
notice the rhythms to the short recitations TAA
TAATAI twice, SAATA.I TAA TAA once, and SAATAI
TAATAI once, and the rhythms to the longer
recitations S^TAI TAATAI TAATAI twice, TAA
tAATAI TAA TAA OnC6, and SAATAl TAATAI TAA
SAATA.I once. Verify each of these rhythms and study
the reasons for their differences of rhythmic form.
Why will not one form do for all the short recita-
tions, and another for all the long ones ? It is
important to notice that the pulses of the cadence
and of the recitation move at the same rate
although it is customary and also natural to put
more syllables into each pulse of the recitation than
into those of the cadence.
In teaching Chanting the teacher causes his
pupils (a) to taatai a line by pattern, (b) to recite it
by pattern, clearly and distinctly, and (c) to sing it
to the chant already learnt by heart.
Ex. 110. Chant the words to Exs. 8-3 and 86.
New Consonances. Hitherto we have had for
thirds and sixths and fifths and fourths (See p. 21) :
n s t r 1 s r 1
AND
d n s t II
Now, there are added
1 d' f d 1 1 n'
AXD
fir f n 1
The harmony student will find and mark cases of
each new consonance, and listen to them while the
music is sung.
The Partial Dissonance. The very peculiar
interval of the scale f to t with its inversion f to t,
is not a discord according to the description at p. 21.
But its effect on the ear forbids it to bo called a
concord. The ear requires rest and sweetness after
it, and therefore expects f to go to m and t, to d.
We call it the partial dissonance. See and hear
Ex. 116, M, m \,p 4. NOTE. / stands for lint or
score, m for measure, and p for pulse, Ex. 119, I 1,
m 4, p 4. But the effect of the partial dissonance
is specially illustrated in the cadences of Ex. 99.
New dissonances. We have hitherto studied (see
p. 21) one dissonance, d against r. It is the model of
those dissonances which occur on the strong pulse and
St. Co.
are regularly "prepared" and "resolved." We
now have other dissonances of the same kind. In
Ex. 114, in addition to d against r in m 3 and 6, we
have 8 against 1 in m 4, and f against s in m 2. In
Ex. 116, in addition to the ordinary d against r,
I o,m 1, we have the same dissonance with delayed
resolution / 4, m 1, and m against f with the less
common interrupted resolution, the consonance 1
"interrupting" the resolution of m' upon r', and
f against s in II, m 2.
f against s. Although this dissonance is used
on the strong pulse, and with tho same kind of
preparation as above, it is far more commonly used
on the weak pulse and often without any sort of
preparation. Its favourite form of melodic pre-
paration, however, is when the f comes down step-
wise from s and goes on as it always must to m.
See and listen to Ex. 97, I 2, m 2, p \, 2, Ex. Ill,
m 7, p i where f is unprepared and has an inter-
rupted resolution, and Ex. 118, m 5, p 2. This
dissonance f against s is tho model of unprepared
discords.
Belative Motion of Farts. Two parts may follow
each other upward or downward at the same time.
This is called similar motion, and is generally sweet
and pleasant, as in Ex. 97, m 5, and in Ex. 99, when
the first two measures are sung with the second two.
Two parts n?ay move upward anddownward in opposite
directions. This is called contrary motion, and is
exceedingly gratifying to the ear. See and listen
to Ex. 97, pulses 3 to 6 and 9 to 12, and Ex. 99,
when the third and fourth measures are sung with
the fifth and sixth. In the last case, indeed, the
parts cross one another. The crossing of parts
is common in Rounds, but not in other composi-
tions. Anything which tends to confuse ono part
with another is objected to in modern music.
Oblique motion is that in which one part "stands"
that is, continues the same sound, while the other
part moves downwards or upwards. See Ex. 117,
m 6, 7, und Ex. 97, beginning of line 2. Very
much of the relative motion of parts cannot be
described by these simple terms. The ear could
not be satisfied with one sort of relative motion
only. It requires variety ; but that which satisfies
longest is the similar motion.
Imitation. The music-student cannot fail to
notice that every kind of imitation is agreeable to
the ear. It is a great help to the singer to notice
such cases. Imitations in the waving of the
THIRD STEP.
37
melody or melodic figure such as that simple one
in Ex. 70, I 2, where the air of the second measure
imitates, in figure, that of the first, or that in
Ex. 98, between the two parts at the opening of
line 2, or those in Ex. 101, I 2, are easily per-
ceived. The imitations in Ex. 116 are interesting.
In the opening, the second part is imitated by the
first, for a measure and a half, starting a fifth above.
In the second line the music of " grief of heart "
is replied to, a fifth above, by that of " killing care ; "
then, the second part repeats "grief of heart" a
small step higher and is again replied to by the
air a fifth higher. Let the student carefully verify
observations like these ; it will teach him to see
more in a piece of music than most others see.
When the imitation is in two or more parts simul-
taneously, as in Ex. 97, pulses 9, 10, with 11, 12, it
is called a harmonic sequence. The study of
rhythmic imitation is very interesting. See in
Ex. 113, I 2, tafaTAi tafaTAi TAA quickly replied to
by the same rhythm with contrary motion. See
TAA TAATAI TAA in Ex. 116. Find other examples.
41 Elementary Rhythms," containing passages
selected from popular songs, and published separ-
ately, will now make good home practice and
prepare for the elementary certificate.
Ex. 111.
II
d
Oh!
r
give
OH ! GIVE
KEY A. Hound for four parts.
t
n : d ,,d
thanks to the
Laa Voluntaries. When once the use of the Sol-
fa syllables is fixed in the ear and has obtained
mnemonic power, it becomes very important to
prevent that otherwise useful power satisfying the
pupil. The practice of laa-iny every tune which
has already been sol-faad is a step towards liberty,
but laa-ing the Modulator voluntaries is a step
further still towards that ready perception of the
mental effects of the tones, apart from associated
syllables, which is desired. This practice, there-
fore, of laa-ing at first sight from the teacher's
pointing should be constantly used.
The Pupil's Pointing on the Modulator while lie
sol-faas must still be encouraged. Where it is
possible for the pupils to point in class each using
a mounted " Home Modulator," and holding it up,
while the teacher passes along the rows behind or
stands on a chair or table so as to overlook all that
is the best plan. It makes all work.
The " Standard Additional Exercises" appended
to this book, introduce four-part pieces at this step.
The " Standard Mixed- Voice Exercises " and the
" Standard Men's Voice Exercises " introduce four-
part music in the course of this step.
THANKS.
* t
r :
ti
d
: s,
n : f
s : n .,n
f
:r.,r
n
:d
God
of
hea
- ven,
For his
mer- cy en-
dur- eth for
cv
- er.
B.C.
Si :
S|
S|
:d
:
:
S
: s
S
: n
Hai-
le-
lu
- jah,
Hal
-le -
lu
- jah.
PEACE, LOVELY PEACE.
Ex. 112. KEY El?. Round for four parts.
t
d
: r .r
n
: - .r
n .n
:f .f
S
Peace,
love - ly
peace
a -
gain re
- news her
youth,
t
t
S
A\ . f r l
i,U . I .,!
d 1 .s
:s .f
n
: r
d
rah,
hur- rah for
Dcace and
lib - er -
ty
and
truth.
St. Co. (New.)
Hur-
D.C.
38
THIRD STEP.
PRAISE YE THE LORD.
Ex. 113. KEY A.
s, : - .s, |d : - .81
Praise the Lord f with
PI, :- .n, |n :- .s
s.f.n :f,n.r |n :
n : r |d : .s
cheer - ful voice, f Ke-
d : Si | HI :
f :- . in
Praise the Lord
.81 li,t,.d :ti,d.r |d
A. L. C.
s,f .n : f,n.r |n : .s
joice, f re-
: .t,|d :
Ee-joice,
: - .n r : f
f with cheer - ful
; .S| li,ti .d i ti,d .r
joice,
: .t, Id :
re - joice,
in : .s 1,8. f :n
re- joice,
.8 |f,n.r : d .n r
re- joice,
:- .r |d :
re - joice.
:- -f, in, :
re - joice.
n :- .f |s :d
To our God. f the
s, :- .f, |n, : n,
Sing the great - ness
Ev - 'ry liv - ing
n : r |d :
ment f on high,
d :s, |n, :
psal - fry bring,
t no - blest song, t
n,r.d : r,d.t, |d .r : n .s
voic, re- joice, - - -
d : 1, .t ; : d .s, 1, ,t, :d .s, f,
Praise
t, :- .d |r .d : t, .d
the Lord, re- joice,
r :n |f ;
t joy - ful raise
fi : a, 1 1, :
acts f ro - cord,
name di - vine,
s, : - .81 id : - .s,
While the fir - ma-
rii : - .n, in, : - . s,
Trum - pet, harp, t and
Bring your sweet - est,
n r id : .r
ma - jes ty. t Re-
Si : f i mi :
tune - ful string,
loud and long,
1 :- .1 is :- .d
Praise the Lord f with
f :- .f, in, :- ,n,
1. In his tern - pie
r, : - .HI |f .n, : r, .HI
2. Now his migh - ty
3. Now to praise t the
r .n : r .d |ti :
song of praise,
f, .8, :f, .PI, ir, :
t of our Lord,
t crea - ture join,
8 : - .f |n .r :n .f
Sing his pow'r fond.
n : - .r |d .ti : d .1,
joice, f re-
: .8, |d : - .n
Re-joice,
t, :r id :
cheer - ful voice.
si : - .f, |n, :
Sound his praise f with
Swell the chor - rusf
/ s,f.n : f,n.r |n .f : s
] joice,
( n,r.d : r,d.t, |d .r : n
St. Co. (New.)
EX. 114. KEY C.
S
A~
:f
THIRD STEP.
AMEN.
"" """ V
1 :r
r
: s
:f
.
-
39
Mainzer.
- :d'
- :t
d 1 :-.
men,
d :-. i
men,
n : 1
r : s
-
-
S ! d 1
f
:t
PI :1
A
.n
:- .1
- .r
: - .s
- .d :"- .f
A
.
.
r : s
- .t :1 .t
d 1
men.
PI
men.
- .ti : - .n
r .s : f
.
.
THE SKYLARK.
Ex.115. KEY E|?. Words by Ho/jg.
M. 96.
A. L. C.
s : - .1 : s
S
: - . f : PI
n
-.f :s
1 :-.s:f
n : r : n
1. Bird of the
rep. Em- blem of
PJ : - .f : n
wil - der-ness,
hap - pi -ness,
PI : - ,r : d
Blithe -
Blest
d :-
some and
is thy
- .r : n
cum - ber-less,
dwell- ing-place
f : - .n : r
Sweet be *hy
Oh! to a -
d : t, :d I
2. Then, when the
rep. Emblem, &c.
s : - .f : PI
glo<
im - ing comes,
Low
in the
hea ' ther blooms,
Sweet will thy
1st time.
r : n : f
n :
D.O.
2nd time.
r : n : r
d :- :
ma - tin o'er
bide in the
PI : - .r : d
moor-land and
t, : d : r
lea!
d :
de - sert with
t, : t, ': t.
thee!
d :- :
wel - come and
bed of love
be;
de - sert with
thee!
P
1 .t,d': s .n : s
1 ,t,d': s .n
: s
la,
: PI
d .r,m: r .n,f : PI .f,s f .s,l: s ,l,t:d' \
La la la la,
f .f : n .d : n
la la la
f .f :n .d
La la la la la la, t
d . : t ( . : d . r : n .f : n
1 .t,d': s .n : s
1 .t,d': s .n
: s
la,
: PI
d .r,n: f ,s,l: s .l,t d 1
: :
La la la la,
f .f : n .d : n
la la la
f .f :PI .d
La la la la
a . : r . : n .f n
St. Co. (New.)
TIIIKD STEP.
Ex. 116. KEY C.
; i :
d : r .n I f :f
In sweet mu - sic,
IN SWEET MUSIC.
s :l.t|d' :d'
In sweet mu - sic
f : PI .r |n : d
r :
|r
:f
n :
1 :
Kill -
ing
care,
t, :-
It,
: r
d :
.n|n : d
S
and grief of
heart
Id 1 :1
kill - ing
I :
heart,
: d 1 |t : t
and grief of
r ;n.f |g :f
sleep, or hear - ing
r : |r :
hear - ing
d : |t, :-
n 1 :-|
care,
: |s
d 1 :
heart,
PI :
die,
d :-
die.
d :
1 .s
Gebhardi.
d 1 :t.l
is :
1 :s.f|n : \
is such
art,
is such art, f
1 :s.f
in :
f :n.r|d : k
;
It : s
r 1 : | :- \
kill - ing
care,
s :
1
- :s |f :r
heart,
and grief of
- : 1
and
grief
:s id 1 :
of heart, /
f
x ~~
sleep,
If :s.f
fall a -
PI : |PI : f .n(
sleep, fall a - t
1 :
is :f
n : |n :
Fall
a
sleep or
f :-
|n : r
d : |d :
Ex. 117. KEY D.
HALLELUJAH.
>
Hal-
-.t:T
t :-.!
lo lu-
-..:?
S : f .n
r.l :s.f
n .d':
: t
d' :
men.
n :
-jah.
jah, Hal-
- .n : r
le - lu -
jah, A -
d .n : 1 .s
mcn,Hallelu
f .r:s.f
-jah,Hallelu
A -
-
-
Ex. 118.
d.s:-.f
KEY A.
- .n : - .r
H/
r .d: - .t.
iLLELUJAH, AME
d . : n r : f
N.
PI : S
f :r
Mainzer.
d. :
Halle - lu
d :t,
- jah, A-
1. :s,.s
men, A-
men, Hal-
n ; .sr. d .t
le - lu -
jah, A -
men, A -
men.
d. :
Hal - le -
lu - jah.A-
men, A -
mcn,Hallelu
- jah, Hal-
- le - lu-
- jah, A-
men.
St. Co. (Xeic.J
THIRD STEP.
41
Ex. 119. KEY A.
: d .t,
Art thou
^ : n,.f,
: - .r |n .,f : s .,d
poor, yet hast thou golden
n, : - .t, |d .,li: t ( .,d
ART THOU POOH.
t, :~ id :-
slum
bers,
: |d :
: n .,f
Art thou
: d .,r
r
rich
ti
: - .d I ti .,r : d
yet is thy mind per
:-.lils,
r :-
-plex'd,
s, :
ment !
s, :
'n : r
num - bers
Id :t,
:d.t,
Dost thou
:n
d : - .r In .,f : s .,d
laugh to see how fools are
1, : -.t ( |d .,r : n .,d
:d
gold - en num - bers,
1, :s, |f, :n,
r
Oh
r,
r : I n : f
F. L. R.
n :
O sweet con
- d : |d :t (
tent!
d :
1 :
d :-
t, :1,
1 :
Oh
1, :-
pun ish -
r, : r,
t ( : d
- .r : n .,f
s :f
vex - ed
Si : d
To add to
- .t, : d .,1,
gold - en
t, :r
n : r
d : | :
sweet con
tent!
S; : f |
n, :- I- :
WHERE DO THE FAIRIES DWELL?
Ex. 120. KEY C.
A. L. C.
s .1 ,t : d 1
.r 1 |n' .r 1 : d 1 r',c
I'.t : In'.r'.d 1 :
.d 1 :t .d 1
Tell roe where the fair-ies dwell, t Te]
n .r :n .f |s .f :n
L me, t Tell me t
: s,f .n 1 : f ,n .r r
where fair-ies
i : r .n
Tell me, Tell ma;
r 1 :
.r 1 :n'.r> Id 1 :-
f .f \t \- .n :r .f
1 : .1
dwell ?
f : s,f .n
Tellu
where fair-ies dwell ?
f : s .f |n : -
ic
In some cay - ern dark an
r .r : r .r |r .d : t ( .r
d deep ? Oh (
f ^ \
d deep?
In some cavern dark an
r 1 : s
.s:s |-.f:n.d't
: .t n 1 : r'.r':r |-.d:
t .1 s : .s
no! I
: r
I
n some qui - et mossy cell ?
.n : n .n|n .r : d .n s
Oh no! In the depths of shady woods? Oh
: f .f :f.f if .n:r.f n :
n some quiet mos - sy cell ?
In the depths of sha - dy woods? ,
St. Co. (New.)
D
42
THIRD STEP.
Id'
no!
Not
.3
r'
there,
t
.s In 1 j'.d'rr' .t
not there do the fair-ies
.8 | s .f ,n : f .r
d'
dwell
n
'" J
Thenl
r^d'.t
tell me
>
: s,f jn
tell me,
tell me,
:
t
:r'
|f
: f ,n .r
where,
S
where,
:f
where ?
Ir
tell me,
s .n',r' : d 1 .t )
All a - mongthe'
n .s,f : n .s (
fra- grant flow'rs,
f .f :n
f .8,1 : s .f |n .f,s : r
'Neuth the drooping li - ly's bell,
r .n,f : n .r id .d : t.
s jn',r': d 1 .t I .t ,d': s .s
In tho pur-pie vio-let's Ded,'Tis
n .s ,f : n .s I f ,f : n .n
r 1 .U:n' .r
there the lair- irs dwell.
f .f :s .f In
s .n'.r'rd' .t |1 .t,d': s
La la la la la k la la la,
n .8 ,f : n . ! f .f : n
f .s,l:s .f
La la la la la
r .n,f : n .
Iln .f,s : r
la la la la.
Id .d :t,
s .n'.r'td 1 .t !1 .t,d': s .s
La la la la la la la la la "i'is
n .s,f : n . |f .f : n .n
Modulator Voluntaries have now increased in
rapidity and difficulty, though they are still confined
to one scale. To make sure of avoiding mannerisms
and to secure variety, the best teachers find it
necessary to study and prepare their voluntaries
when they come to this step. The " Hints for
Voluntaries " are only intended to suggest such as
are suitable for each step. The teacher who wishes
his pupils to follow his pointing rapidly can teach
them to do so, by never letting his pointer wait for
them.
Ear Exercises. A tew two-part Ear Exercises,
as in the " Hints," can now be wisely introduced,
but only to quick and observant classes. To others
each " part " of the exercise will serve as a separate
exercise. When the great majority of the class do
not follow the ear exercises with pleasure, the
teacher goes back to earlier steps, continually re-
minding his pupils, not by words, but by examples
and illustrations, of the mental effects of particular
tones, and continually urging them to notice the
first tone of the exercise after the " prelude." The
St. Co. (NewJ
r 1 .d^tin 1 .r 1 Id 1
there the fair-ies dwell.
f .f : .f In
necessity of written answers to the ear exercises
increases with the length of the exercises.
Time Ear Exercises as at page 24, are still con-
tinued.
Dictation. See pp. 12, 24, but name the octim *
as at p. 29. Thus, the beginning of the last line
above "TAAtefe m f s" "TAA r" "TAAtefe s,
one-m, one-r."
Pointing from memory, writing from memory
as at pp. 12 and 24.
Elementary Certificate Slips being given to the
pupils, they are now, that is six weeks before the
close of the class, constantly coming up for indi-
vidual examination in one requirement or the other,
first passing the examination of the assistants, and
then that of the teacher himself. The examination is
conducted sometimes before the whole class, some-
times privately, according to the convenience of
teacher and pupils. All the requirements must be
done within six weeks, else the examination begins
again.
THIRD STEP.
QUESTIONS FOR WRITTEN OR ORAL EXAMINATION.
43
I What is a " hold "What does it
signify .'
2 What is the advantage of a know-
ledge of chords to the singer !
3 Describe the normal position of a
chord .'
4 What are the root the third and
fifth of a chord .'
5 What is the difference between
the a position and the normal position
of a chord ?
6 What is the b position of a chord ?
the c position ?
7 Which of these positions is the
most acceptable to the ear .' and how
are the other positions used .'
8 What does the name " Constitu-
tion" of chords refer to .'
9 How do we figure the omission of
the third ? of the fifth '! of the root ?
10 How do we figure the doubling of
the third ! and fifth .' and trebling of
the root .'
II Which of the three tones of a
chord is most easily oni'tted without
notice ?
12 What quality of a chord is lost by
omitting the third .'the root .'
13 Which tone of a chord can be
easily doubled because it is the least
noticed .' and which because it is the
most characteristic and important ?
14 In the resolution of S into D
where does te go ? sohl ray ?
15 Why is S called the Dominant ?
16 Describe the chord *8
17 What do you yourselves feel to
be the mental effect of low lah .' of
high lah 1
18 What is the effect of high fan 1
of low/a/U
19 How does greater speed of move-
ment modify the mental effect of doh,
me, and soft I of ray, fah, lah, te >
Mention any examples that occur to
you.
20 Which are the strong tones of the
scale, and which the leaning tones >.
Which have the strongest leaning
tendency '.'
21 What are the successive tones of
the scale descending in pitch 1 What
are they ascending ;
22 How many vibrations in a second
give the standard pitch tone, middle
3 ? In what part of men's voices is
this C ? Where is it in women's voices ?
23 Describe the manner in which
tunes are pitched from the standard
scale.
St. Co. (New).
DOCTRINE.
24 What variable circumstances
affect our power of recollecting a tone
in absolute pitch ?
25 What pitch tone stands at about
the middle range of female and chil-
dren's voices ? of male voices .'
26 How do we judge whether an
uncultivated voice belongs to the con-
tralto or bass class of voices, or to the
soprano or tenor ?
27 What is the easy compass of the
soprano voice ? of the contralto ?
28 WTiat is the easy compass of the
tenor voice ? of the bass ?
29 Among uncultivated voices,
which part of a man's voice is most
commonly found to be neglected ? of a
woman's ?
30 The octave marks of a tune being
taken from doh, how do we know which
doh is to be without an octave mark ?
In key G how would the lah below the
key-tone corresponding with the pitch
E be marked ? In key C how would
the me above the key-tone correspond-
ing with the pitch E be marked ?
31 With what octave marks are the
bass and tenor parts written 1
32 In speaking of octave marks for
the purposes of dictation, how do you
distinguish the lower doh from the
higher doh ? the lower C 2 from the
higher C-.
33 If we want fresh breath on a
strong pulse, where do we take away
the time of the breathing ? And if on
a weak pulse .'
34 Write down all the rules for
breathing places which you can remem-
ber.
35 What is meant by "Expression"
in music ? and what are the elements
of tone chiefly employed in it 1
36 In using the type-marks for
expression of words what has to be
first settled in the mind before those
marks obtain their true meaning ?
37 What, then, is the meaning of
common type 1 Italic type ? SMALL
CAPITALS ?
38 What is the writing mark for
Italics ? for small capitals ?
39 How are ascending passages and
continuous or repeated tones naturally
treated for expression ?
40 What other means are there,
besides taking breath, of separating
and distinguishing musical phrases one
from the other while one sings ?
41 What is the " great break of
register " in the voice ?
42 Where does it occur in men's
voices ? in women's .' Between what
tones in absolute pitch is it always
found 1
43 Where does the " small register,"
peculiar to women's voices, commence ?
44 What are the three commonly
used "optional tones" between the
thick and thin registers ?
45 Describe or write the exercise by
by means of which men come to per-
ceive their thin register.
46 Why is forceful action of the
larynx necessary to the strengthening
of the thin register? What syllable
puts the organs of voice into the best
position for this kind of vigorous effort ?
47 Why is it necessary to employ the
strengthening exercise in various keys?
48 Describe the process of using the
strengthening exercise, Ex. 104.
49 What is a metronome ?
50 What is the meaning of M. 80.
placed in the title of a tune ?
51 How is the rate of very quick six-
pulse measure marked ?
52 Why is it necessary to have exer-
cises for sustaining a uniform rate of
movement 1
53 Describe the exercises for attain-
ing this power.
54 Why should the rate indicated by
M. 60 be fixed in the mind ?
55 Describe the exercise for teaching
this.
56 What is the name for a silence
on the first half of a pulse 1 for thf
second half?
57 How is a three-quarter-pulse tone
indicated in the Sol-fa notation .'
58 How is the pulse divided int
three-quarters-and-a-quarter indicated
in the time-names ? What are its two
larger relatives ?
59 How is the pulse divided into tw
quarters-and-a-half indicated in the
Tonic Sol-fa notation and in the time-
names ; What are its larger relatives ?
60 How is the pulse divided into a
half-and-two-quarters indicated in the
Tonic Sol-fa notation and the time
names ? What are its larger relatives^
61 What is syncopation ? How does
it affect the next following strong
pulse?
62 What is there in tune like synco-
pation in Tune ? In what style should
syncopation be sung ?
63 What is chanting 1
64 Describe an Anglican single
chant a double chant.
44
THIRD STEP.
05 What is the most important rule
in chanting ?
66 Why should a student of chant-
ing begin by chanting hymns t
67 By what marks are the words
divided for chanting, so as to separate
the words of the reciting-tone from
those of the cadence ? How is TAA
or iwy division of TAA indicated in
the printing of the words I How is
SA A indicated T SAATAI ?
68 What relation is there between
the rate at which the pulses of the
cadence move and those of the recita-
tion?
69 "What is the process of teaching 1
chanting recitations '.
70 What are the new Consonances
introduced at this step, distinguishing
the thirds from the fifths ?
71 What is the partial-dissonance,
and its effect upon the mind ?
72 What new prepared dissonance
have we in this step .'
73 What dissonance is considered
the model of unprepared discords ? On
what kind of pulse does it most com-
monly occur, and what is its favourite
melodic preparation ?
74 Describe what is meant by the
similar motion of two parts in relation
to each other, by contrary motion,
by oblique motion.
75 Which kind of relative motion is
the least wearying to the ear J Which
is the most exciting .'
76 What is meant by imitations of
melodic figure ?
77 What is meant by imitation of
rhythmic form ?
78 What is meant by harmonic
sequence.
TO Hold a steady tone with one
brcnth for a quarter of a minute.
80 Sing, softly and pleasantly, to
the Italian Laa, Ex. 82 in keys 15 and
D.
81 Name, pulse by pulse, the chords
with positions and constitutions in Exs.
s itnd 86.
8'2 Sol-faafrommemoryanyexample,
yon please, shewing the mental effect
of high fah, low fah, low lah, high
M.
W Give from memory an example
of the manner in which speed of move-
ment modifies mental effect.
84 Repeat the names of the scale
tones upward, downward, repeat
the strong tones upward and down-
ward, repeat the leaning tones upward
and downward.
85 Strike, by the help of a tuning-
fork, the pitch tone C (for womerfs
voices C', for men's voices unmarked
< . and run down the standard scale of
pitch.
f-f. Pitch the key D, O, A, F.
87 Strike from memory the pitch
note C' (for women) and C unmarked
(for men).
88 Are the best tones of your voice
ai'm-f G (for women and children) or G,
(for men) or are they below that tone ?
xfl What is the easy compass of your
Toice ?
00 For which of the four common
parts in music is your voice best fitted t
!'l Write the Soprano of a tune in
key C with the proper octave marks.
Do the same in key B.
!_' Write down " three G " " G
three" "two ray" "ray two"
*' unmarked G."
93 Write the letters by which you
would indicate in the title of a tune
that it is to be sung by two Sopranos
St. Co. fXew.J
PKACTICE.
and a Contralto, by Soprano, Tenor,
and Bass, by Soprano, Contralto, and
Tenor.
94 Mark breathing places, consider-
ing the phrasing only, to Exs. 11 0, 101,
98, and 115.
ii.'i Mark breathing places for em-
phasis in Exs. 115 and 120.
96 Mark breathing places to corres-
pond with the sense of the words in Ex.
116.
97 Mark with your pen underneath
the words the style f " expression "
you think it best to give to them in Exs.
112. 119, and 120.
!'S Sing to words any one of the
exercises from 97 to 103 as required,
pag; 25, question 46.
99 Ditto with exercises 110 to 120.
100 Sing to laa the lah and the ln/i,
to any doh the teacher gives you.
101 Sing to laa the /(i A and the fah,
to any doh the teacher gives.
102 Sing A in the thin register of
your voice, in the thick register.
103 In the key of C what are the
Sol-fa names of your three principal
optional tones ? in the key of G ! in
the key of D ! in the key of A ?
104 Sing to koo Ex. 104 with your
thin register in key D.
105 Taatai with accent a four-pulse
measure, at the rate of M. 60 from
memory, at the rate of M. 120, at the
rate of M. 90.
106 Taatai with accent eight four-
pulse measures, sustaining the rate of
M. 60, the rate of M. 90.
107 Taatai from memory any one of
the Exs. 105 to 107 chosen by the ex-
aminer, the 1st measure being named.
108 Taatai the upper part of any
one of the Exs. 118, 116, or 120 chosen
by the examiner.
109 Taatai in tune the upper part of
any one of the Exs. Ill, 112, 114, 116,
117, us, or 119 chosen by the examiner.
110 Recite in correct time any two
of the recitations in the words to Ex.
86 chosen by the examiner.
111 Show examples of the new con-
sonances introduced at this step.
1 1 2 Ditto of the semi-dissonance.
113 Ditto of the new prepared dis-
sonances.
114 Ditto of fa h against soh unpre-
pared.
115 Shew an example of similar
motion between parts, of contrary
motion, of oblique motion.
116 Shew an example of rhythmic
imitation, of melodic imitation, of
harmonic sequence.
1 17 Follow the examiner's pointing
in a new voluntary containing all the
tones of the common scale but no diffi-
culties of time greater than those of
the second step.
118 Point and sol-faa on the modu-
lator from memory any one of the
following seven exercises, 97, 98, 99,
100, 103, 111, 112, chosen by the ex-
aminer.
119 Write from memory any other
of these seven exercises chosen by the
examiner.
120 Tell which is lah, which is fah,
as directed, page 25, question ;"><;.
121 Tell what tone of all the scale
is sJcaa, as at page 25, question 57.
122 Taatai any rhythm of two four-
pulse measures belonging to this step,
which the examiner shall laa to you,
see page 25, question 58.
123 Taatai-in-tune any rhythm of
two four-pulse measures belonging to
this step, which the examiner sol-faun
to you, Bee page 25, question 59.
Ex. 1212.
FOURTH STE*.
To perform Exercises for Strengthening the Chest, securing Purity of Tone, and perfect Blending if
" Piirts." To know by ear the Chords of the Subdominant, Dominant-Seventh, Supertonic, Leading-toil^,
Submediant, and Mediant in the Major Mode. To observe Cadences. To remember the structure of the Seal*
in its conjunct intervals. To perceive Transition to the Fir.it Sharp and the First Flat Keys, its mechanism
and its mental effect. To perceive Chromatic Resolution. To distinguish Cadence, Passing, and Extended Tran-
sition. To Pitch Tunes. To learn correct Recitation, with special regard to the consonants. To learn the art
of Chanting. To become familiar with the silent quarter-pulse and the sounding thirds of a pulse. To learn
the art of Beating Time. To strengthen the Thin Register in Men. To recognise and strengthen the Thick
Register in Women. To Blend the Registers. To understand Part-pulse Dissonances. To observe variant
ooints of Musical Form.
Ex. 121. CHEST AND KLANG. These exercises
are now united. The lower part is to be sung as
a chest exercise, always to the word " skaa-laa,"
and on one breath. When taken at the rate of
M. 50 the pupil will have to economise his breath
lor 20 seconds. Those who sing the upper part
may take breath at the places marked. They
must deliver the first measure very softly fppj,
the second measure softly (p), the third measure
with a medium force of voice (m), and the fourth
measure with full force of voice (f). As soon as
the exercise is thus sung, the singers must change
parts for the sake of rest and variety, and this
is reckoned one performance of the exercise.
Let the exercise be performed thus : first time
in key C, the upper voices "slurring" each measure
to the forward Italian " laa," at the rate of M.
Second time, the same in key D. The teacher will
pass from key to key as directed, p. 33. Third
time, in key G9, the upper voices singing to the
staccato " koo," at M. 50. Fourth time, the same
in key DJ. Fifth time, in key D, the upper voices
laa-ing as above, at M. 50. Laa-ing is used here
as a rest before the last effort. Sixth time, in key
E, the upper voices sol-faaing-, at SI. 70. Sol-faaing
is used here to make sure of correctness of tune
in the highest tones. The teacher will be careful
not to carry the voices any higher than is here
indicated, for, especially in an exercise with in-
creasing force, he may cause the first or thick register
of men to be strained, and unfit them for chang-
ing the register on the optional tonea. It ""is
remarkable that the woman's voice changes into
the small register just where, an octave lower, the
man's voice changes into the thin register. But
women do not commonly use optional tones below
the G'. _ Their voices, however, require equal care
to avoid straining. Basses may use this thin
register for d ( in keys D #, D, and E.
XBYS C, D, CjJ, D, D, E. Chest and Klang Exercise. M. 70, GO, and oO
PP tjO . t /
d .n:s .n
Skaa
|d .PI : s .ri
f .]
L:d'.l
If.
s .t
:r'.t
|S .
t
:r'.t
d 1
d :
1- :
f
:
i
s
:
1
:
d'
Ex. 122. TUNING EXERCISE. To be used with | the parts cannot be changed. Exs. 123 to 126 arc
the same processes as descri
KEY E. Tuning Exer
d 1 :t Id' :-
bed at p. 14, except that
cise for three equal voices
: 1 :
to be employed in the sa
d 1 :- |t :-
me way,
d 1 :-
LA. X^lU tU l&U '
without words.
PI : r
In
:
: 11 :-
:
If
:
n : -
i
1
:
d : S|
Id
:
fi
. .
f,
:
III
:
d :-
1-
:
The Chord Fah. The tones f, 1, and d sung together
form the chord of Fah. This chord considered
separately and in itself is exactly the same as the
chords D and S. But when placed in relation
with those chords, that is, when starting from the
fifth below the first or leading chord D, just as the
chord S starts from the fifth above, it obtains a
distinct mental effect. See p. 20. In Ex. 123 there
St. Co. (New).
'As to style of rendering 1 , see page 81, close of first paragraph.
46
FOURTH STEP.
are two cases of F in its a position. Lot the exercise
be softly laad, F being dwelt upon longer than its
proper time, and let the pupils decide its mental
effect. If D is called the Resting chord and S the
Moving chord, F may perhaps be called the Serious
chord. When D is called the Tonic and S the
Dominant, F is called the Subdominant. It is
much used before these chords in the Tonic close or
cadence. See Ex. 123. It is also much used in its
b position. See Exs. 124, 125, and 126.
The Chord Seven-Sob. When f intrudes as a
dissonance into the chord of Soh, the chord thus
modified is called Seven-Soh, and written 7 S. The
figure 7 is used because the f commonly oc3urs at the
interval of a seventh above the s ; but it may occur
at the interval of a second beneath the s. There
is often an additional octave (making a fourteenth
or a ninth) between the dissonance f and its resist-
ing tone a. When this is the case the dissonant
effect is very slight. The dissonant f follows, both
in its preparation and resolution, the rules named
in the paragraph " f against i," pa^re 36. Let the
pupils softly laa again Ex. 123, lingering and
listening on 7 S and its resolution.
Ambiguity of Chords. Observe that there is
nothing in the structure and intervals of the first
phrase of Ex. 123 to prevent the ear interpreting
the chords as : S | S : D | S. But according to
the principle named at page 20, the ear naturally
prefers to regard the first chord which roles it as a
principal chord, and has, therefore, no difficulty in
interpreting the first phrase as : D | D : F | D.
Except for this pro-occupation of the ear by the
first chord which is emphatically struck, D, S, and
F are ambiguous. But there is no ambiguity in
T S. It cannot be mistaken for any other chord. It
decides the key with an absolute certainty which S
does not possess.
Major, Minor, and Diminished Chords. The
chords hitherto described have a major or larger
third at the bottom. Chords of this kind are by
far the most acceptable to the ear. Their tones
have a perfect agreement in every respect a full
sonorousness. But for contrast and for variety of
mental effect, chords which have a lesser or minor
third at the bottom are necessary. The minor
chords of the scale are 11, L, and M. Let the pupil
point them out upon the modulator. They are glad
of doubled thirds, even in the b position, p. 27. Far
less sonorous than even the minor chords is the
chord Te, for it has an imperfect or diminished fifth.
St. Co. (New.)
The Grave Ray. Wnen the tone r is required t^
tune with f (as m tunes with s, and 1 with d 1 ),
and when it is required to tune with 1 (as d tunes
with s, and f with d'), the ear of singers, and of
quartet players on stringed instruments, naturally
seeks to produce the r a little lower than when it is
required to tune with s and t. When we wish to
distinguish this lower or "grave " form of r from
its commoner form we call it Rah, to make it cor-
respond, in its vowel sound, with Fah and Lah.
The interval between rah and ray is called a komma.
General Thompson, who first drew attention to this
point in his " Just Intonation," saya that in the
chord 7 S the acute form of ray is used because it
is more important that it should agree with the root
and third of a chord than with the dissonant
seventh. His "Enharmonic Organ" proves this.
The Chord Eay, r, f, 1, (more properly called
Rah) is the most used of the minor chords. It fre-
quently occurs in its a position when the bass moves
thus | r : s, | d || But it is most commonly found
in its b position. See Ex. 124. Let the pupils laa
this exercise, dwelling on Ri, and listening to it.
When F is called the " Serious " chord, R, from its
similarity of effect, especially in its b position, is
called the semi-serious chord.
The Chord Te, t,, r, f. The root and fifth of this
chord form the "Partial-dissonance" described at
page 36, and follow the rule of "Resolution" there
described. This chord is much used as a " Substitu-
tional Chord " for 7 S. In many places in which there
is not room for T S, or where 7 S does not allow so
pleasant a melodic flow in the parts, this much
weaker chord is substituted. It is chiefly used in its i
position, which is less harsh than the a position. Listen
well to T* in Ex. 125. See Ta in Ex. 126. T, in its
relation to S and 7 S, is called the weak moving chord.
The Chord Lah, 1,, d, m, has its chief use in the
minor mode, which will be described in the next step.
Apart from this, it is used almost exclusively in its
a position, U being seldom seen, and Lc never.
La is used, interchangeably with F6, when the tone
1 is wanted in the bass, and when a minor chord is
required to set off the clearer sonorousness of the
major. Let Ex. 126 be laad and the L dwelt upon.
Notice that S can resolve into L, as can also 7 S and
T, for special effect. L, from its proper mental
effect, is called the sorrowful chord.
The Chord M, m, s, t, though in itself as good as
any other minor chord, for some reason not yet suf-
ficiently explained is rarely used in Modern Music.
Ex. 1236
FOURTH STEP.
47
Perh-ips the mental effect of its fifth contradicts
too strongly the mental effects of its root and third.
The tone f in T S also contradicts the mental effect
of the rest of the chord, but it is a decided disson-
ance, and is easily resolved downwards. M is
called the umntOMHff chord.
The Chord 7 R has, in it, the dissonance d against
r with which we are already familiar in the less-used
chord 4 S. See pp. 21, 27. The dissonating d is
prepared and resolved in the same way, in this
chord also. 7 R4 is much used in closes, as a " sub-
stitutional chord " for F. Listen to it in Ex. 126.
For fuller explanations of the habits of these
chords, reference should be made to " The Common-
places of Music " and " How to observe Harmony."
We can only attempt here to awaken such an inter-
est in the subject, as will lead the singer to further
study- A thorough knowledge of the nature and
meaning of the music he sings, both heightens the
pleasure of the singer, and gives him confidence in
striking his tones. This intelligent singing is what
we are most anxious to promote.*
The Mental Effects of Chords are much governed
by the natural effect of that tone which is heard in
the bass, especially if it is doubled. But the chief
source of mental effect in a chord is its root. It
follows therefore that the clearest mental effect of
a chord is that which it gives in its a position.
It then best developes the proper mental effect of
its root. This should be shown by experiment.
Ex. 123. KEY O. Tuning Exercise, as above.
Ex. 124. KBY A. Tuning Exercise, as above.
. 'For there -the Lord 'com | manded the
blessing || Ev en | life for ev er more
. 'The grace-of-our Lord | Je sus
Christ U Be | with you all A men
St. Co. (New.) * For dogmatic summary of
f :r
si : -
:f
n : r
d :t|
si : s,
d :-
d :-
d :-
'The Lord | bless thee || And
| keep thee
. "The Lord make-his face . | shine up
on-thee || And be | gra cious un to thee
. 'The Lord-lift up-his counte nance- up
| on thee || and | give thee peace
Ex. 125. KEY A. Tuning Exercise, as above.
n
n :f
d :d
d :1,
f .n.r
t,:d
n : r
d : t,
s, : si
d :-
d :-
d :-
/TN
S
n : 1
s : -
rz\
s
n : 1
r :f
n : -
-II c
n
d :f
m : -
ti
d :d
t :r
d :-
Ex.
/T\
d
d : f |
d :-
Si
d :f.
s, : s.
d :-
(1"
\ I ,
'Be hold-how good-and HOW | PLEASANT IT
1
is || 'For brethren -to
dwell 'to | gether in
(Id
u ni ty
XTr\
As the | dew of Hermon || And-as-the
.Nov
dO-6XC
dew-that-de scendod-up on 'the | moun tains
ask c
of Zion
Ho every one-that thirs'teth 'come | ye to-the
waters 1| . And he-that hath-no money .
| come ye buy and eat || . Yea come
buy | wine and milk || without; | money
and- with out price
. . Whereforo do-ye spend money 'for
that- which | is not bread -- || . and -your
labour for | that which satis fieth not ||
. . Hearken diligently unto me 'and eat -ye
| that- which is good || 'and lel-your soul
'de | light it self in fatness
. 'In cline-your ear 'and | come unto me ||
Hear . | and your soul shall live jj
Seek-ye-the Lord . while- He | may be found
|| Call ye-up|on Him while He-is near
Ex. 126. KEY A. Tuning Exercise, as before.
s :f
n : r
d : s.
n : -
d :-
f :n
r :d
ti : d
r : r
d : t,
f, : si
d :-
d :-
d : -
Now unto | him-that is able || . 'to
do-exceeding-A BUNDANT LY 'a bove | ail-that we
or think
'Ac cording to-the power 'that | worketh
in us || . 'unto him-be glory-in-the
church . | by Christ Je sus
THROUGH | OUT ALL AGES || world-with
out | end A men
the subject see "Mus. Theory," Book V.
48
FOURTH STEP.
Ex. 127
Ex 127. Name, pulse by pulse, the chords with
their positions and constitutions, of Exs 122 to 126.
Cadences. It has already been noticed (p. 9)
that music naturally divides itself into short portions
or phrases. No one can sing over a tune without
also observing that several such phrases together
naturally form a larger divison of the melody, and
that these larger divisions close in such a manner
as conveys to the mind with more or less complete-
ness, a feeling of rest. These resting-points in a
tune are called cadences. The teacher can sol-faa
several melodies, and ask his pupils to hold up their
hands, or make some other signal, when he comes to
the natural points of rest. These cadences cut the
tune into larger portions which we call Sections.
These Sections correspond with lines in poetry.
When harmony is added to melody, the cadences
become more marked and decisive, and the chords
move towards these points of rest in a very clear and
marked manner. Properly speaking a cadence in
harmony consists of the two last chords, but other
chords approaching such a cadence are very care-
fully marshalled. The principal cadence is that of
the Tonic. Listen to it in its various approaches
in both cadences of Ex. 86, and 123, and in the se-
cond cadence of Exs. 85, 124, 125, and 126. Notice
that the chords F, S, D, contain all the tones of the
scale, so that when these three chords proceed to a
cadence it is as though the whole scale were sum-
moned to do homage to its Tonic. Among these
Tonic cadences however is one in which the Dom-
inant (S) is omitted, and there is nothing but the
progression of the Sub-dominant (F) to the Tonic.
This is called a plagal cadence. It produces a very
solemn effect when the key is well established in tht;
ear. See Ex. 123. The cadence next in importance
to the Tonic is that on the Dominant. Listen to it
with its various approaches in Exs. 85, 124, and 125.
This cadence is felt to be one of expectancy as well
as of rest. The only other cadence to be here
noticed is that on L, just where from the common
habits of cadences D would be expected. This we
call the Surprise cadence. Listen to it in Ex. 126.
C Positions. The c position (p. 26) of chords is
chiefly used in DC, as the third-last chord of a
cadence. See Exs. 85, and 124. There is this great
peculiarity about the third position of D, that it
asserts the key very strongly, for while the chord
itself is the Tonic, the Dominant of the key is
allowed the emphasis and importance which belongs
to the bass tone of a chord. When the cadence
St. Co. (Xew.J * Sec fuller unalj-sis of Seal
moves thus, F, DC, S, D, it is as though the music
in coming to a close swung like a pendulum from
Sub-dominant to Dominant, passing through the
point of rest; the Tonic to which it finally returns.
The c position of chords is in its own nature unson-
orous and partially dissonant, the ear is not satisfied
that any other chords should use it except those on
the Tonic, Dominant, and Sub-dominant, It com-
monly has some apology in the melodic motion of
the bass. It is either " passing," or "continuing,"
or " accented and moving stepwise."
Constitution of 7 S and Minor Chords. (Compare
p. 27.) Differing from consonant major chords, 7 S
allows its third to be omitted, because by the help
of its seventh, there still remains a third in the
chord. Minor chords also differ from major chords
in allowing their third to be doubled in the b posi-
tion, because as the minor chords are in themselves
somewhat harsh and unsonorous, additional sweet-
ness improves them.
The Steps of the Scale. We have now learnt the
complete common scale of music, and have seen that
these seven peculiarly related tones produce certain
effects on the mind by virtue of that relationship.
We have seen also that these mental effects repeat
themselves in " Replicates " or Octaves.*
The pupils should now be led to observe the Steps,
from one tone to the next, of this scale. The
teacher may laa the scale and ask his pupils to tell
by ear where the tones lie closest to each other.
They will quickly see that the two Little Steps,
are between m f and t, d. They will not be able to
perceive by ear but they may be told, as a mathe-
matical and musical truth, that there is a difference
among the other steps of the scale, that the three
Greater Steps are between d r, f 8 and 1 1, and that
the two Smaller Steps are between r m and s 1.
The difference between ray and rah called a komma, is
the difference between a greater and a smaller step.
The scale may therefore bo described as consisting
of two little steps, separated one way by a couple
I of steps, and the other way by a triplet of steps.
I One little step has a "major third" (couple of steps)
above it, and the other has what is called a "tritone"
(triplet of steps) above it. Doh may be defined as
that tone of the scale which stands on a little step
with two steps and a little step above. The great
characteristics of d are, first, that one little step
leads up to it, and second, that the other little step
lends down to its third above. From t, up to f we
have a major third with little steps above and below
" Mus. Theory," Book I., pp. 5 to 10.
FOURTH
it. From f up to t we have the peculiar interval
called a tritone.
Thus t and f become the most marked character-
istic tones of the scale. From their mental effects
t may be called the sharp tone of the scale, and f
ihajlat tone of the scale. We shall presently see
how the whole aspect of the scale changes whenever
t is substituted for a f, or f for a t. It may be worth
notice that the interval from t, to f is slightly great-
er than the true Tritone from f to t. Both contain
a major third, but one has,in addition, to a major third
two little steps, and the other one greater step,
and two little steps are larger than one greater seep.
Perception of Transition. Transition is the
" passing over " of the music from one key into
another. Sometimes, in the course of a tune, the
music seems to have elected a new governing or key-
tone ; and the tones gather, for a time, around this
new key-tone in the same relationship and order as
around the first. For this purpose one or more new
tones are commonly required, and the tones, which
do not change their absolute pitch, change, never-
theless, their " mental effect " with the change of
key-relationship. To those who have studied the
mental effect of each tone, the study of " transition ' '
becomes very interesting. At the call of some
single new tone characteristically heard as it enters
the music, the other sounds are seen to acknowledge
their new ruler, and, suddenly assuming the new
offices he requires, to minister in their places around
him.
The musical fact, thus dogmatically stated, may
be set before the minds of pupils in some such
such way as the following :
" Listen to me while I sing to you a tune. I
shall ' figure ' the first line, and you will tell me
what tone that is on which the figure ' eight ' falls.
The tune begins on a. What is ' eight ? " ' Teacher
sings to figures as below :
KEY F.
s s
1.
2.
d : 1
6. 7.
" Yes, the ' eight ' was a. What is the mental
effect of B ? " The grand or clear note. " Can you
tell by your ears, the difference between s and d ?
Which gives the fullest feeling of repose, is the
stronger resting tone ? " d. I will sing the second
line of the tune. Tell me the effect on j r our minds
of the tone which wow falls to the syllable 'eight.'"
Teacher sings as follows :
St. Co. (New).
TIP.
49
: s
d 1
: t
1 1 : s
1 s
:fe
1 s
)
i
9
3.
4. .5.
U
7.
S.
{
" Was that s the grand, clear trumpet-tone, or
d the firm, final resting-tone ? . . Listen again,
while I sing both lines, and you compare the two
' eights.' " Teacher sings. " What was the differ-
ence between them ? . . Yes, the first was a and
the second sounded more like d. And yet, let me
tell you, the two sounds were exactly the same in
pitch. How came the second ' eight ' to produce
so different an effect on our minds ? What made
it so much a tone of rest and collusiveness ? . .
Let us take the Modulator, and you shall sol-faa the
two lines you have heard as I point to them." The
teacher points while the pupils sing, but gives the
f of the original key where tho accidental occurs.
Thus :
d 1
f Js
" Was that as before ? " Xo. "But try it thus
again. . . Did the s sound like d then ? Was
it any way different from the other a?" No.
" Then what do we want to make s sound like d?"
A new tone instead of f. " Very well. Then we
will call the new sound fe, and sing it properly.
They sol-faa it from the centre column of the Modu-
lator. " You feel that you have passed over into
a new key."
The same musical fact, in another transition, may
be shewn thus :
" I wilt figure two lines. Tell me what is the
mental effect of the first nine and of the second
nine? Each line begins on d. What is nine?"
The teacher figures without the modulator
KKY A.
:d
f
2.
: n
3.
: r
4.
d :-
5.
i.
f : n : r
2. 3. 4.
d :-
C. 7. 8.
tai: 1, : s,
6. 7. 8.
f:-
The first nine had strongly the effect of f ; the
second had tho repose of d. " Yes, but they are
both exactly the same tone in absolute pitch!
What has altered the mental effect of the second ? "
You introduced a new tone instead of tj. " Yes, it
was tho new tone which changed the effect of f.
Then let us call that new tone tau (spelt ta) and
50
FOURTH STEP.
sol-faa these two lines from the modulator." They
sol-faa. " You feel that we have, as before, passed
over into a new key, but into a different new key."
Distinguishing tones of transition. When tran-
sition is made by means of a new tone instead of
f, the mental effect of the new tone is felt to be in
contrast with that of the tone blotted out. The
desolate tone is changed for a piercing tone, and
the fiat tone of the old key is thrown out to make
room for the sharp tone of the new. We therefore
call fe the sharp distinguishing tone. When tran-
sition is made by the introduction of another tone
instead of t, it is felt that the sharp piercing tone
of the old key has been exchanged for the flat
dfSdlate tone of the new key. Taw is therefore
called the flat distinguishing tone. The teacher
will know how to make this evident to the ear of
the pupil.
Melodic tendency to transition. Let the pupils
laa (not sol-faa) from the modulator such a passage
as this :
i!
i!
KEY D.
:n.f|s :d
- II :-
t.l:s
i! d
!l f -
il
|f..:f
i :- I
and they will feel that the f sounds unnatural. It
is more natural to sing a sound which is " under-
leading-toue to S, as t, is to d, a sound which we
should call fe. Let them sing it again, using fe,
and they will feel that the mental effect of t 1 8
has become that of m r d. The reason is that our
ears are so much accustomed to the two full " steps "
m r and r d leading down to a key-tone, that
whenever they perceive similar intervals accented
in a similar manner they prefer to interpret them
as m r d.
Try the only other interval of two full steps in
the scale, 1 8 f, and you will find the same habit of
ear, the same tendency of mind to interpret this
interval as m r d. Deal with this example as with
the other.
KEY D.
n |s : t d 1 : 1 | f : )
Here t is felt to be the unnatural tone. Yon
want an "over-leading-tone" to 1, as f is to m.
The ear naturally interprets the constantly repeated
f B 1 as d r m, and desires to make the last three
tones m f m. Indeed it may be noticed that the
" tritone," as a melodic progression (with its three
long steps) is not loved by the ear, and that the
lower part of the scale is much preferred to the
upper.
Adjacent keys in transition. Such transitions
as have just been studied are called transitions of
one remove, because only one change is made in
the pitch tones us"d. When s becomes d the
music is said to go into the firxt sharp k*y. When
f becomes d we say that a transition is made into
the first fi/it key. Eighty per cent, of all the
transitions of music are to one or the other of these
two keys, and of them the first sharp key is the
one chiefly used in " principal transition," or tran-
sition from the principal key of the music. The
relation of these two adjacent keys should be very
clearly understood by the pupil, and he should be
led to notice how the pitch tones change their
mental effect. This may be proximately described
by the table below.
Piercing t becomes Calm m.
Sorrowful 1 Rousing r.
Grand B Strong d.
Desolate f it changed for Piercing t.
Calm m becomes Sorrowful 1.
Rousing r Grand 8.
Strong d Desolate f.
If the teacher has a black-board, it will be well
for him to lot his pupils construct the new key by
the side of the old one in some such way as this:
' I have drawn the scale [as at side]
and you will see that I have observed
carefully the shorter distances bet ween
m f and t d'. Let ns suppose that our
8 is changed into d. To represent
this I write d on the right of B.
What change now takes place in the
mental effect of B?" , "In that
case what will 1 become, and what
will be the change of mental effect?"
* * " What will t become, and how
will it change its effect?" * *
"What of m?" "What of
r?" "What of d?" .
" What becomes of f P Is there a
Step or a Little Step between d and
the tone below it?" , "What
d"
te
f
m
lab
r
oh d
fah y
me
X i
1,
ray
,
dob
''
St. Co. (New.)
FOURTH STEP.
51
IB there between 8 and f ? " , " Then f is not
near enough to the new d to form a proper ' leaning
tone.' We therefore banish f from the new key,
and use fe instead. This is the principal change
of mental effect which occurs. How will you
describe it ?" Again the teacher may say "Let us
suppose that f has become a new d. I will write
d on the left hand of f. What shall I write on the
left hand of m ? r ? d ? s ? 1 ? What becomes
of t ? " * * " Yes, the new flat tone is put in its
stead." t
Keturning Transition. As a rule all tunes go
back again to their principal key, but the returning
transition is not always taken in so marked a
manner as the principal transition, because the
principal key has already a hold on the mind, and
the ear easily accepts the slightest hint of a return
to it. Commonly also it is in the principal transi-
tion that the composer wishes to produce his effect,
and in which he therefore makes his chords
decisive, and his distinguishing tones emphatic.
It is not always so, however, and in hymn-tunes
the returning transition is often as beautiful and
effective as the principal transition. Let it be
carefully noticed that the return to the original
key is the same thing in its nature as going to
the first flat key, so that a study of the mutual
relation of these two keys is the groundwork
of all studies of transition. For convenience
of memory it is well for the student to draw
a diagram of a principal key with its first
sharp and first flat keys, and to
learn by rote the relations of their
notes. Thus let him say aloud " d f,
d s ; r s, r 1 ; m 1, m t ; f to t, f d ; s
d, s r ; 1 r, 1 m ; t to f, t m. It may
be interesting to mention that in
passing to the first sharp key, the new
t requires the old 1 to be raised a
komma to make it into a new r. If
it were necessary, this form of the
tone might be called Lay.
Notation of Transition. Tonic
Sol-fa pupils always prefer that their
notes should correspond with the
mental effects of the tones they
represent. We therefore adopt the
plan of giving to some tone closely
preceding the distinguishing tone, a double name.
We call it by its name in the old key as well as by
that which it assumes in the new, pronouncing the
t
f ta
m 1
8
old name slightly and the new name emphatically,
thus M'Lnk, S'ltay, D'fah, &c. These we call
bridge-tones, and write them thus m\, 8r, df.
We call this the Perfect Method of indicating transi-
tion. But when the transition is very brief we write
the new t as fe, and the new f as ta. This is called
the Imperfect Method. The teacher will point on the
modulator and teach by pattern such phrases as
Id : n |s : d 1 I *d : ti I d
or |d : n |s : d 1 | s : f e | s
and | d : n |s : d 's I f : n | r
or i d : n | s : d 1 | ta : 1
s
making the pupils sol-faa in both ways. Occasion-
ally the transition is taken as in Ex. 129 and 123
on a bridge-tone which is not common to the
two keys. In these cases we write the " better "
notation of transition thus :
| f : *et, | a or |t : taf | n
Signature of Transition. The signature of the
new key is placed over every transition when
written according to the perfect method. If it is a
sharp key (i.e. to the rigM on the modulator) the
new tones are named on the right of the key name,
thus, A. t., or ( if two removes ) A. t. m,
If it is a flat key (i.e. to the left on the modulator)
the new tones are placed to the left, thus,
f. B?., or d.f. B?., and so on. By this the
singer knows that he has a new f or a new t to
expect. More distant removes would have their
two or three other distinguishing notes similarly
placed.
Mental effects of Transition. The most marked
effects of transition arise from the distinguishing
tones which are used. Transition to the first sharp
key naturally expresses excitement and elevation ;
that to the first flat key depression and seriousness.
Manual Signs. It is not advisable to use manual
signs in teaching transition, because they are apt
to distract attention from the modulator with its
beautiful "trinity of keys." The greatest effort
should be made to fix the three keys of the modu-
lator in the mind's eye. But if, on occasion, it is
wished to indicate transition by manual signs, the
teacher may, to indicate transition to the right on
the modulator, use his left hand (which will be to
the pupils' right) thus. When with the right hand
he reaches a bridge-tone, let him place his left hand
close under it, making the sign proper to the new
St. Co. fNew.) + See other "presentations of Transition" in "Teacher's Manual'.," pp. 130 to 133.
5'2
FOURTH STEP.
Kry, then withdrawing his right hand, let him
proceed to signal the music with his left. He can
use the reverse process in the flat transition. Signs
could easily be invented for fe, ta, etc., but we do
not advise their use.
Chromatic Effects. The ear forms such a habit
of expecting t to move to d 1 and f to move to m,
especially in cadences and other phrases meant to
decide the key, that a new effect arises when the
rar is disappointed of its expected gratification.
This is markedly the case when a new t or a new f
threaten to decide for us a new key. Some of the
Ex. 127*- KEY E. Effect of the new t.
most startling and a few of the most beautiful
effects of modern music are thus obtained. See
more on "Chromatic Resolution of Chords" in
" How to Observe Harmony."
Such exercises as the following should be care-
fully taught by pattern, from the modulator. Let
them be first sol-faad and afterwards laad, the
voices lingering on the distinguishing tone. But
let the voices carefully mark the resolution (or
"progression") of that tone, because on the reso-
lution it depends whether the effect will bo transi-
tional or chromatic.
B. t.
d' f
:d
n
:d
s
:t,
f :-
n
ti
:d
r :t,
f
- |*i
t
Ex. 128
. KEY A.
E. t.
*
'n 1 r
:d
t,
:d
n
: s
f :
n
: *s
1
: t
d' :r>
t
d 1 |
Ex. 129
. KEY E?
Effect of fe chromatic.
r s ('
t-
d :r
n :d
f :fe s :-
d' :s
1 : s f e : f
" : ~\\
rf-f
11
ti n It
Ex. 130
. KEY B?
. Effect of the new f.
f. E/*
j
d
ll
:d
t,
:f
n : r
d
;d s
f
: n
r :f
n
r
d
i r *,
Ex. 131. KEY F.
f.
B7.
ii
i d /i
:d
n
:d
s
:d>
t :
d<
: 'd
n
:d
s :d f
n |
t| M;
i
II
/I ,
Ex. 132
. KEY B.
Effect of ta chromatic.
, l| n
:TI
r
:d
ti
:ta,
li :t,
d
: si
ll
: ta.
t, : d
n
r
d l|
II
r\ S| di
Cadence Transition. The commonest form of
transition to the first sharp key is that in. which it
gives life and beauty to a cadence. See Exs. 133,
and 134. When a transition docs not begin before
the second-last measure*of a line, and does not con-
tinue beyond the cadence, we call it cadence-tran-
bition. The first flat key is seldom used thtis, but
LORD, WHILE
see Ex. 141. We write cadence-transition in the
'Imperfect" manner that is, with fe or ta.
The Cadential Movement of the Bass. | d : r I
or |r :r s, sounds like |f :s [dor |s :s ,cl of tin-
first sharp key, and suggests transition to thf!
mind even without the fe.
FOB ALL.
Ex. ]
f.H
U. Lord,
:
12. O
L33. KEY A.
n : r
while for
d : t,
guard our
Firmly.
PI : d
all man -
d : r,,
shores from
r :ti
kind we
fi : s, .f,
d :d
pray, In
rii : d
foe, With
s : r
ev - 'ry
t, : t|
peace our
Dr. (
n : f e
clime and
d.ti:l,
bor - dert
}ro/t.
^>
S
coast,
8|
bleu;
ev - 'ry
St. Co. (New.)
' Or the third last accent
FOURTH STEP. 5j
: s
f :r
PI : d
f :n
r 1 t|
r : s
f :r
^
d
o
: n
With
HEAR US
r : t|
pros - p'rous
FOR OUK
d : ri|
times our
NA - TIVB
1, .ti :d
LAND, The
t| : S {
crown, OUR
land we
f i Pl|
FIELDS WITH
love the
f ( : si.f (
most.
H|
NESS.
cit - ies
PLEN-TEOUS-
3 Unite us in the sacred love
Of knowledge, truth, and Thee,
And let our hills and valleys shout
THE SONGS OF LIBERTY.
4 Lord of the nations ! thus to Thee
Our country we commend ;
Be thou her refuge and her trust,
HER EVERLASTING FRIEND !
PRAISE TO GOD.
Ex. 134. KEY A. Joyfully.
German Chorale.
n : r
d : n
s :f
n :
li :ti
d :r
ti : 1,
s, :
1. Praise to
d : t|
2. Praise to
God!
1, :d
him who
let us
t|.s,: l|.t.
raise,
d :
light,
From our
f. :fi
Praise to
hearts a
n, : fei
him who
song of
s, : fe,
gave us
praise ;
S| :
sight ;
made the
d : ti
1, :d
f :n
r :
s :f
n : r
d : t,
d :
Of that
HI : s,
Praise to
good- ness
f, : If
him who
let us
t,.r :d.l.
sing,
t| :
ear ;
Whence our
n : r
Will ho
lives and
d :f,
not his
bless - ings
si :-.f,
chil - dren
spring.
HI :
hear?
fonn'd the
3 Praise him for our happy hours ;
Praise him for our varied powers ;
For these thoughts that rise above,
For these hearts he made for love.
4 Praise his mercy that did send
Jesus for our guide and friend :
Praise him every heart and voice,
HlM WHO MAKES ALL WORLDS REJOICB.
Passing Transition. The commonest form of the
transition to the first Jlat key is that in which it
makes a passing harmonic ornament, not in a
cadence, but in the middle of a line or near the
beginning. See Ex. 142, 144. The first sharp
key is seldom used thus, but see Ex. 170, 171.
We write Passing transition in the " improper "
manner.
Extended Transition is that which is carried
beyond a cadence. The first sharp key is much
used in this way in hymn-tunes, often occupying
the second or the third lines, and sometimes the
greater part of both. See Ex. 135, 136, 137, 140.
St. Co. (New).
The first^fltf key is seldom thus employed in tunes
which are in popular use. It is rare to find such
an example of it as Handel gives in Ex. 143.
The Exercises. All the early transitions, and all
the more difficult transitions which follow, shoull
be well taught from the modulator. If this is not.
done transition will become a confusion instead of
a beauty and a pleasure to the learner.
Missed Transitions. If one "part" is silent
while another changes key twice when it enters
both bridge-tones are given in some old music, thus
r "d, but this plan is not now adopted. When apart
enters after others which are already in the new key
the bridge -note is placed in brackets ( d ).
54
FOURTH STEP.
Ex.
:d
I.
:d
O
135. KEY E. Gently.
n : r |n : 1
Sa - viour, go b -
d :t, |d :f
SAVIOUR, GO Bl
M. 50.
3 :f |n :1
ESIDE US.
s : f |n : r
ev - er tee may
n : r |d : t.
n : |
go;
d :- |-
side us, Wher-
n :r |d :f
2.
Step-herd, go be -
side us, And
lead thy faint - ing
flock ;
B. t.
:d
r : n |f : n
f. E.
r :- |d :i,n
f : n |r : r
d :- |-
And
"id.
let no harm be -
t. : di 1 1, : 8,
tide us, From
f, :- In, : f ,d
ma - lice of the
t, :d |f, :s.
foe.
d :- |-
With
pas - tures green pro-
vide us, And
well- springs from the
rock.
3 Master, stay beside us,
Our hearts with wisdom store ;
Be strength and grace supplied us,
To grow for evermore.
4 Father, go beside us,
Till all our wand'rings end ;
LET WEAL NOR WOB DIVIDE us
FKOM THEK, OUR FAITHFUL FRIEND.
Ex. 136.
d :r
KEY F.
n : n
LO ! M
f :n
Y SHEP]
r :
SERB'S ]
C. t.
"1 :t
IAND.
d 1 :r'
n' :r'
A. Stone.
d 1 :
1. Lo! my
d : t,
Shop -herd' s
d :d
hand di -
1, :d
vine!
ti :-
Want shall
df :r
nev - er
n :f
more be
s :f
mine ;
n :
2. When I
faint with
sum - mar's
heat,
He shall
lead my
wea - ry
feet
f. F.
in : n
f :f
r : r
n :
s :f
n : r
d : ti
d :-
In a
'd :d
pas - ture
r : r
fair and
t, : s.
large,
d :-
He shall
n : r
feed his
d :f,
hap - py
i : - -f.
charge.
n, : -
To the
streams that
still and
slow,
Through the
ver - dant
mea - dows
flow.
3 He my soul anew shall frame ;
And his mercies to proclaim,
When thro' devious paths I stray,
Teach my steps the better way.
4 Though the dreary vale I tread,
By the shades of death overspread.
There I walk from terror free,
STILL PROTECTED, LOUD, BY THEE.
Words by Tapper.
COURAGE !
Music by A. L.
c.
Ex. 137. KEY B7. Boldly.
M. 112.
g, :-.BI|S, ; li.ti
d :
- It, :
si : -
S|| li.t,:
d.r
n
:- |r :
Dan - gers do not
dare
me,
Ter -
rors do
not
scare
me,
s, :-.f||n ( : r.
d, :
n, | S| :
fi :-
filf, :
ni.r.
d,
:d |t, :
F. t.
t
r : - .a|t|.d : r .n
f :
If :
ft : -
.t|t :
t
d 1
:- |d :-
God, my guide, I'll
bear
me
Man -
ful-ly
for
ev
er.
t, :-.l||S| :f,.R,
TI :
- |r :
r s : -
.s | s :
f
n
:- |d :-
8t Co. (NewJ.
FOURTH STEP.
55
f.Bt7.
fd :-
.t|r
:d
ti :-
Hi
Trou -
ble's dark-eat
hour,
1|H, : -
.'III
: n t
f, :-
|f|
d :-
.r | n
:f
s :
11
To
the Spec- tre's
pow
er,
d :-
t,|d
: li
HI :
If,
n : - .r |f : n
Shall not make me
d :-.t,|l, :s
cow
f.
- Id
er
I HI
2 Up, my heart, and brace thee,
While the perils face thee,
In thyself encase thee
Manfully for ever.
Foes may howl around me,
Fears may hunt and hound me,
Shall their yells confound me ?
Never, never, never !
t,.t,: |f.f: n.d:
Never, never, never !
8|.8|t |S|.S,: S|.IV
3 Constant, calm, unfearing,
Boldly persevering,
In good conscience steering
Manfully for ever.
Winds and waves defying
And on God relying,
Shall he find me flying ?
Never, never, never !
Ex. 138. Let this be practised until each syllable (A and men) can be taken with one breath.
Or. t.
KEY C. M. 80.
d> :- I- :-
A
t t I-! (
:n |1 :s
d :"- |- :-
O LITTLE CHILD, LIE STILL.
Words from the " Lamp of Love."
Ex, 139. KEY D. Softly. M. 96.
Mainzer.
:- It
:
*'f : 1
Is
:f
: n .r
|n :d
.
.
.
.
.
.
men, A
f
:r |s
: f
ml, :
It,
:
d :
Id :
f. C.
f
:r |s
:f
n : s
|1
:t
d' :-
1- :
.
.
.
.
.
men.
:- It,
:
d s :
|
:f
n :
1- :
: n
n
: r : n
s :
:f
n :
1.0
2.0
:d
3.0
4. Then
~uT
lit
d
"- tie
tie
:t, :d
child,
child,
n :
child,
an
lie
lie
: r
when
- gel
still
still
d :
thou
wings
lit - tie
with thy
r :
near,
sleeps
ti :
: r
THOU
whom
:t,
r : n
:fe
NOT
MM
:d
s :
FEAR;
keeps,
ti :
NEED'ST
Je
d :
then,
cend,
But
To
say
meet
A -
thy
men!
Friend,
St. Co.
(New).
and
and
r . **""
sleep !
rest,
t, :-
must die,
quick grown,
And
:(n)
To
:1
one
:f
God'Y
Je - BUS
in
n
A.
L. C.
d :
r
: n
Je -
He
d :
SU8
sweet
d
is
-ly
:d
Fear
Shalt
no -
thou
thing
as -
t
d 1 :
: n
need
the
r
fear
morn
n :
-
whom
ing
:d
com mand,
the lit -
and
tie
56
FOURTH STEP.
n : : r r
: : n
s : -
- :
f :- :-
- n : : s a
: 1 : t v
God doth I
eep, I5y
day
or
night. Then I
ay thee\
wake, so I
lest, His
CHILD
TO
BE, Love t
v - 'ry f
\ d : - : t, t
, :- :d
ti :-
- :
t, : - : -
d : : n r
_il :r (
' qui - et I
'e In
his
kind
hand Till It
te shall
\ child will o
wn Safe,
at
his
side! And t
aou shalt
d' :- :n r
i : : r
r : -
: n
r : :
r : : n
d :~
down in
ilum ler
deep
Till
morn
ing
light.
one, * but
.ove him
best ;-
He
first
lov'd
thee.
n : : d
1 :- :t
t, :-
- :d
d : :
t, t, :- :-
d :-
say, " Dear
child, come
fly
To
HEAVEN'S
BRIGHT
LAND."
\ live be -
fore the
throne, BE-
CAUSE
HE
DIED !
BLEST
BE THE HOUR. Tune " Dublin.'
Ex. 140. KEY
G.
D.t.
: n n : s
:f n
: r
:d r :1
: t| d :
: r s
1. Blest be
the hour
when friends
shall meet,
Shall
:d d :t|
: 1| s.
:
: 1. fi : -
: f i HI :
: t ( n
2. Sweet hope,
deep cher
ish'd, not
in vain,
Now
f. G.
1 : t : d'
f :n .
r d
1 : :*d r
: :n f
: :n \
j
meet to
tirt
no i
nore, And wit
ti ce - les
tial f
f :- :n
thou art
r :d
rich
t| C
ly <
1 : : i,n, s,
jrown'd, All thu
: :d 1, :t, :d k
t was dead re - i
r : n : d
d :t t
: s,
s : f : n
r_li : t,
d :-
wel - COB
no greet,
On
an im -
mor - tal
shore.
s, : - : 1
s, :
: s,
t, : :d
f : - : f ,
n, .
k vivcs a
- gain;
All
that was
lost is
found.
3 And while remembrance, lingering still,
Draws joy from sorrowing hours,
New prospects rise, new pleasures fill
The soul's capacious powers.
4 Their Father fans their generous flame,
And looks complacent down ;
The smile that owns their filial claim
IS THEIR IMMORTAL CROWN.
Ex. 141. KEY C. M. 72.
d : |n : s
Hal - le
d :- |d :
St. Co. (NetoJ.
S I
jah!
n I
HALLELUJAH.
ta : 1 |
lu - jah !
f :f I
Natorp.
FOURTH STEP.
57
r,r" :- Id 1 :-
\ 1 Hal - le -
Mr :n |fe :-
- d' :t | :
lu - jah!
s : s | :
Hal ' - le
s :1 |t
:- if :- |f :-
lu - jah!
:- d' :- |f :- }
f :- In 1
Hal - le
f : |d'
:
r' :
lu
s :
1 .
1
* :- 1 : I!
jah!
d :- | :
:
Ex. 146. XBY B|?.
s, : d |t, : d
I. Through the day thy
nj : PI, | s, : 1
M. 58. THROT]
r :d.t,|d :d
'GH THE
n : n
Now wo
d :d
DAY.
r .d : ti 1, : 1, 1 s, :
love has spar'd us,
f , : si |n, : HI
lay
It,.
us down to rest ;
l,:si s, :fe, |s, :
2.Pil - grims here on
earth, and strang-ers,
Dwell-ing in
the midst of foes;
si : d | t, : d
r :d.t,|d
:d
n : n
r .d : ti 1, : 1| |s, :
Through the si - lent
HI : HI | s, : 1
Us and ours pre-
watch-es guard us,
f i : S| | n, : n,
serve from dang - ers,
Let no
d :d
In thin
foe
our peace mo - lest:
L,:SI s, :fe, |si :
e arms may we re - pose,
id : ta, 1 1, : 1
r : d |t, :
d :r
n
:f n :r |d :
Je - sus, now our
d, :n, |f, :f
guar - dian be,
r, : fe t | si :
Sweet it
,
is
S|
to trust in thee.
: 1, s, : s, |d :
And, when life's short
day is past,
Rest with thee in heav'n at last.
Ex. 143. KEY F.
d :n :f
1. Great is the
d :d :r
2. Great is the
f. Bl7.
s :di s
Lord his
n :">t|
mer - cy
GREAT IS THE
f :- :n
works of
1, :- :d
of the
LORD.
r : : n
might De -
s, : : d,
Lord ; He
Handel.
1| : t, : d
mand our
f , : r, : n.
gives his
d .,r : n : r
d
songs
d|
food;
. i
F. t.
s .f : n
n
:r :d
d 1 :t.l:s.f
no - West
PI, .,f ['. S, : s,
Let his as -
s ,d : n .r : d
sem
d
bled
:t, :d
saints u -
n : f : n .r
child - ren
And, ev - er
mind - ful
of his
n : r : n
1,
:t,
:d
mo -
:n,
his
d .,r : n : r
d :- :-
tongues.
d : :
good.
nite Their
d : t| : d .n,
har
makes
ny of
1, : s, : s.
word, He
St. Co. (New).
pro - mise
68
FOURTH STEP.
Ex.144. KEY B7. M. 72. Words by Russell.
A. L. C.
n : r : d
1 O'er the dark
d, : r, : n,
i.'fhe wea - ry
ti ; 1, : si
wave of
f i : : n,
bird hath
1, : - : t,
Gal - i -
f i : : 8 ( .f,
left the
d
lee
n,
air,
: :
Si : 1 : ta
The gloom of \
n, : f, : s, t
And sunk in -
1, : - : r
1, :t, :d
t, : - : -
n
:r :d
t,
: 1| : s,
twi - light
fi :- :f,
-i there
.61 : s : 1|
fast,
si : :
And
d,
on the
: n : HI
wa - ters
f, : : HI
to his
shel - ter'd
nest ;
The
wand -'ring
beast hath
1, :- :t,
d : : r :n :f n :d :r
d : : t|
d : :
drear - i -
f| t !8|.f i
ly De - scendsthe tit - ful
n, : : f i : n, : r, d, : n, : f ,
ev - 'ning
I'll '. ! T|
blast,
d, : - : -
sought his
lair. And laid him down to
wel - come
rest.
3 Still, near the lake, with weary tread,
Lingers a form of human kind ;
And, from his lone, unsheltered head,
Flows the chill night-damp on the wind.
4 Why seeks not he a home of rest P
Why seeks not he the pillowed bed ?
Beasts have their dens, the bird its nest ; -
He hath not where to lay his head.
6 Such was the lot he freely chose,
To bless, to save, the human race ;
And, through his poverty, there flows
A rich, full stream of heavenly grace.
I LOVE MY LOVE.
Ex. 145. K
: n : s
BY C. M. 88
1 :- :s
, twice. Word
s :- :f
B by Charles A
n :- :d'
\ackay.
d 1 :t :d'
n 1 : - : d (
A. L. 0.
t :- : -
1. What is the
n : d : n
mean - ing
f :- :n
of the song That
n : - : r | d : - : n
rings so
n : r : n
clear and
d : - : n
loud,
s : - : -
2.Whatis the moan - ing
3.0 hap - py words ! at
of thy thought, O
Beau - ty's feet We
maid - en fair and
sing them ere our
young P
prime;
, - : :t
\ Thou
- : :s.f
d 1 : - : n | s : - : t
night - in - gale a -
n : - : d 1 1| : - : s.f
d 1 : - : n 1 s : - : n 1
mid the copse, Thou
n : - : d |t, : - : d
in thine eyes, Such
sum - mers pass, And
n 1 :f :n' |r' : d 1 :t
lark a - hove the
8 : 1 : s |f :n : r
There
And
is such plea - sure
when the ear ly
mu sic on thy
care comes on with
St. Co. (New).
FOURTH STEP.
d 1 :-
:- 1- :
O. t
:d'f
n :
cloud ?
n : -
:- 1- :
What
says
d :
tongue;
Time,
There
Still
is
be
s : :
:s, |t, :
- : s,
d :-
Up in
Pl| l*l|
the wal
: PI, | f i :
nut
- :f,
tree?
nil ;
What can
join in
the mean
the cho
- ing
rus
be?
free
n |n : -
: r
d :
:t, |d :-
:(s)
thy song,
thou
joy
ous thrush,
Si | s, : -
f(
n, : -
: r, | HI : -
(HI)
such glo
ry
on
thy face
it ours,
in
care's
des - pite,
To
f. C.
- 1- :
:<*s
s : 1
: s 1 1 : -
: t '
"I
love
my love
be-
1- :
. ,n
m :f
:n |f :-
: r
d 1 : - : d 1 | t : - : t
cause I know My
n : - : d.n| s : - : f
d 1 :
love
n :
loves
:- |s :-
|1 :- :t
love be-
If :- :r
d 1 :- :d' |t :- :s
cause I know My
n : - : d.n| s : - : s
n 1 :
love
s :
in 1 :-
me,
d 1 :-
r' :- :-
loves
If :- :-
_s :_! : s \
love my\
n r_f : in j
d' :- :- |-
me.
n :
Pitching Tunes. By this time the pupil is
probably possessed of a C 1 tuning fork, but that
should not prevent (it should rather promote) his
constantly exercising himself to remember " one
C " (C 1 ) as recommended p. 29. In pitching the key
F, it is useful to suppose your C 1 s, and fall on
your key-note thus, s m d. The pupil will not
now find it necessary to run down to G, but will
fall upon it at once from his C'. E may be pitched
by falling to m, thus, C'd 1 s m - ""d. A may be
pitched by falling on 1, thus, C'd 1 1 - J d. D may
be pitched thus C'd' r' - r 'd'. The key may be
pitched a little higher (sharper) or a little lower
(flatter) than any tone of the "standard scale of
pitch," p. 29. The tones thus required are named
" F sharp," " E flat," &c., and the sign I? is used
for "flat," and J for "sharp." A sharp bears no
relation to the tone below it and after which, for
convenience, it is named, but its relation is to the
tone above it. To that tone it is an under-little-
step, as t t to d. It is like the f, in transition,
changed into fe. In order to strike it correctly we
sing the tone above and then smoothly descend a
little step to it. A flat bears no relation to the
St. Co. (New).
tone above it and after which it is named. It is an
pver-little-step (as f to m) to the tone below it. Jt
is like the t, in transition, changed into ta. To
pitch it correctly in the cases of A 7, G p, and T)?,
we should sing the tone below and then rise to it
a little step. But in the more commonly used keys
of B t? and E t? it is easier and surer to pitch thus :
For B P suppose your C' to be s and sing s f - f d.
For E [7, suppose it to be 1 and rise stepwise to d'.
thus, C'l r t d 1 .
Eecitation. The art of reciting well on one tone
is a very difficult but exceedingly beautiful one. A
pure and exact enunciation, making every word
stand out as it were in bright colours before you,
is a wonderful charm even in common speech, but
when one listens to the clear utterance of some
great singer, words seem like old friends arrayed
in startling beauty and inspired with new jpowe<
A good elocutionary recitation depends on the study
and practice of the most suitable rhythms, emphases,
and pauses for expressing well the meaning of the
words, and on a thorough mastery and careful
practice of the articulations and vowels of speech.
The emphasis of words belongs to elocution rather
60
FOURTH STEP.
than to singing. The choice of ncccnt also, in
words set to music, belongs to the composer rather
than to the performer. Varieties of rhythm the
pupil will learn in the study of chanting. But
the consonants and vowels, the articulations and
continuations of voice, are proper objects of the
singer's study. Of these, the vowels or continua-
tions are the more important to the singer, because
on them alone can a good tone be prolonged, and
every fault a man has in speaking vowels is greatly
magnified the moment he begins to sing. But the
vowels have already been practised to some extent
in connexion with the voice exercises, and will be
studied more fully in the next step. Besides, in
first attracting the attention of the pupil to the
action of his vocal organs it is easier to begin with
the consonants. In preparing the scheme of exer-
cises on consonants and vowels, the author has
been greatly aided by old studies of Dr. Rush on
the Voice, and by Mr. Melville Bell's " Visible
Speech" and "Dictionary of Sounds." But his
chief help has come from the generous and patient
personal assistance of Mr. Alexander J. Ellis, author
of "English Phonetics," "Early English Pro-
nunciation," and other works.
An Articulation is a joint. A joint implies in
this caso both a separation and a connexion of
spoken sounds. The lips may come into contact with
one another, or the lip touch the upper teeth, or the
tongue touch teeth or palate. There may be thus
an absolute or nearly absolute stopping of the
vowel sounds. And these points of separation are
also made points of junction. They are joints or
articulations.
Qualities of articulation. If the student produces
strongly P and B, without any distinct vowel
following them, as in la-p, tu-b, ho will soon notice
that P has a hard quality and gives nothing but
breath ; that B has a softer quality and something
of voice in it. In fact the larynx takes part in the
act of articulation. The same differences may be
easily noticed between the Tip-tongue articulations
T as in pe-t, and D as in mai-d, and between the
Back -tongue articulations K as in seek, and G as in
plag(ue). These we propose to call the two qualities
of articulation, the Breath quality, and the Voice
quality.
Modes of Articulation. If the student pro-
nounces carefully the Lip-articulations P as in
shee-p, WH as in wh-ile, and with the use of the
teeth F as in U-f(eJ, he will soon notice that in
St. Co. (New).
producing P the lips shut the passage of the breath;
that in WH they give it a narrow central opening ;
and that in F they oblige the breath to force its
way through chinks on both sides of the point of
junction. It is easy to notice the same difference
of passage in producing the Tip-tongue articula-
tions T (with shut passage) as in be-t, S (with
central opening) as in ta-ss, SH (central) as in la-sh,
and TH (with side openings) as in wra-th; and in the
Back -tongue articulation K (shut) as inla-kfej,and
Mid-tongue Y (central) as in y-oung. Again,
there is the trill or tremulous motion of the tip of
the tongue for the rough R (written R') as in
herring, and a peculiar mode of articulation
called nasal, in which the voice resounds within the
nose, as for M, N, and NG. These we propose to
call the five Modes of articulation : shut, central,
side, trilled, and nasal.
Organs of Articulation. The muscles of articu-
lation reside chiefly in the lips and the tongue, for
the teeth and the palate are comparatively station-
ary. The work has to be done by the Lips, or by
the Tip, the Middle or tho Back of the tongue.
"We may call the Lips, tho Tip, Middle, and Back
of the tongue the four organs of articulation.
These Organs, Modes, and Qualities produce tho
following :
The Lip articulations, P, B, WH, W, and M, are
easily understood. But it will be seen that in F
and V the upper teeth act with the lower lips in
making the articulation.
The Tip-tonguo articulations, T, D, T,, N, and
tho trilled R' are also quickly understood. For
TH, DH it will be seen that the tip of the tongue
acts against the teeth. S, Z, and SH, ZH require
both the tip and middle of tho tongue, the teeth
and lips also usually acting. S, Z use the tip
more decidedly than SH, ZH. The letters DH, ZH,
are commonly used by elocutionists to represent the
soft forms of TH.SH.
ThetrilledR' occursonly before vowels. When not
before a vowel, R is vocal and modifies the proceed-
ing vowel, forming diphthongs. See pp. 143, 144.
YH and Y require no explanation.
CH and J are double articulations, or conso-
nantal diphthongs, and might be spelt TSH and
DZH. Hence they are not included in tho table.
The Aspirate H is simply the sound of breath
driven sharply through the open larynx. Its im-
pulse comes from the muscular floor on which the
lungs rest. See p. 96.
Ex. 146.
FOURTH STEP.
TABLE OF ENGLISH ARTICULATIONS.*
SHUT.
Breath.
Voice
LIPS.
~ i^_ ~
Lips.
p
pea
B
bee
TIP-TONGUE.
Teeth.
Palate.
T
toe
D
doe
Mid-tongue.
BACK-
. TONGUE.
K
keen
G
gain
CENTRAL.
Breath. WH F TH
wheel feel thin
Voice.
SIDE.
Breath.
Voice.
TRILLED.
Voice.
NASAL.
Voice. M
SUM
W V
weal veal
DH
then
S SH YH
seal rush hew
(yheu)
Z ZH Y
zeal rouge you
(rooih)
L
lay
R'
ray
N
sun
NG
sung
How to sing a consonant. A study of the above table will
shew how little there is in any of the consonants which can be
sung. The breath articulations with shut posture,. P, T, K, have
positively no sound ; the hisses WH, F, TH, S, SH, YH, cannot
be sung at all, and should be made as short as possible ; the buzzes
W, V, DH, Z, ZH, Y, are very disagreeable when continued,
although it is just possible to sing them ; the voice articulations
with shut posture B, D, G, are far too smothered for singing ; and
although L, R, M, N, and NG may be more or less murmured
or hummed, they cannot be properly sung. In passing, however,
from consonant to vowel and vowel to consonant, that is from
one fixed position to another, the organs necessarily assume an end-
less number of intermediate posi-
tions, and voice being uttered during
the time of this change, there results
a varying sound, which may be called
a Glide. This is not a glide in
pitch, but in vowel qualities. The
organs do not change much, and
there is comparatively little glide
between b and oo, but there is a
great change in the organs, and
therefore a considerable glide be-
tween b and ee. A similar dif-
erence may be observed between
the Glides k to ai, and k to oa.
It should be noticed that as long
as any two sounds, for example
m and ee, are kept separate, how-
ever closely they are put together,
there is no syllable. It is the
glide which makes sounds into
syllables. Indeed the only part
of a consonantal effect which can
be really sung is the glide. The
exercise of singing a consonant,
therefore, consists of making this
glide conspicuous by opening t/ie
mouth well for the vowel and clos-
ing it smartly for the consonant.
All real intelligibility in singing
depends upon the manner in which
the singer brings out the glide,
taking care not to introduce puffs,
or to prolong hisses or buzzes.
On this exercise he will then con-
centrate his attention.
Ex.146. Enunciation Exercises
on the Lip articulations. Let the
following lines he sung aa in a
chant, on the tone G, the pupils
taking extreme care to make the
requisite distinctions of articula-
tion and to bring out the glide.
When an exercise has been sung to
the open aa it should be practised
with the other principal vowels ai,
ee, au, oa, oo ; for each vowel will
introduce a new glide.
. The | lips -pro : duce-with | shut : passage | paa : b | maa : \ aap : aab \ aura. : \ aap : pa
. The | lips-pro : duce-with | central : passage | whaa : vraa \ vrhaa : \raa \ &c.
. The | lips-pro : duce-with (central: passage] fan : vaa \ faa : vaa \ aai : aav*\ ani : taa \ aav : vaa
St. Co. (Ncw.J * For Diagrams see " Teacher's Manual," p. 198. t Don't open lips, t Note, p. 62.
62 FOURTH STEP. Ex. 147152.
Ex. 147. Enunciation Exercises on the Tip-tongue articulations.
. The | Tip : tongue-pro | duces : . with | shut : passage | taa : da | naa : | ant : aaA. \ aan :
oat : taa \ ad : daa |
. The | Tip : tongue-pro | duces : . with | central : passage | aaa : zaa \ saa : &c. *
. The | Tip : tongue-pro | duces : . with [central: passage) thaa : dhaa | laa : \ oath : aadh | aa..
| aath : thaa \ aadh : dhaa | &c.
Ex. 148. Enunciation Exercises on the Mid, Back, and trilled-Tip-tongue articulations.
. The | Mid : tongue-pro | duces : . with | central : passage j shan : zhaa \ aash : aazh \
. The | Back : tongue-pro | duces : . with | shut : passage | ka : gaa \ ngaa : \ ak : nag \ aang :
. The | Tip : tongue | trilled : . pro | duces : with | central : passage | Taa : laa \ aaiaa : aaraa \
Ex. 149. Pronunciation of the Lip articulations. Recite on one tone (G) paying exact attention to
the thick letters. This will require close attention to a careful pattern. Where the pronunciation varies
from the spelling, the proper phonetic letters are introduced. The ending articulations and tho double
articulations are very difficult in singing. They must be delivered very distinctly but very quickly.
Cop, cab, pull, bull, cup, cub, pet, bet, mop, mob, babe, babble, bump, peep, stopcock, upmost, leap/., map,
member, _/ilm, minimum, mumble, triumph.
"When. Wen, where, Ware, while, Wile, whither, wither, whim, whip, wharf, whelm, whimper, whiffle, vihiff.
Vain, vain, fault, vault, bar, veer, foist, voiced, fife, five, serf, serve, safe, save, muS, puS, move, love.
Ex. 150. Pronunciation of the Tip-tongue articulations.
Bet, beA., tire, dir, neat, need, troll, droll, colt, ro/d, butch, ba&.ge, writer, riier, tight, tieA, titilute, tetra-
gon, tittL-tattltf, t<intalize, avidity, oddt'ty, nvd-t-'te, paint, painea, p .-/nLss nap, map, son, tome, muttn,
addn.
Mow, moth, fate, faith, teal, teal, ice, eyes, bate, baize, sport, Store, skope, Here, smile, swear, sue, Suit,
Jesuit, sp,izms, feastt, fifths, desks, zest, assassin, sashes.
Death, deaf, loth, loaf, thiu>, tew, thrill, /nil, path, paHhs, oath, oadhz, mouth, mou&bz, lath, l'/dhs, clodhz,
close, ladhe, lave, owez, Ioath8om, loadh#th, fair, fair'er, near, near'er, err, ert'ing, ftc, mirr'or, br'td,
ibi'ee, ver'ily, r'evelr'y, pr'uier'y, littr'ally, liter' ar'j, holilj, worldlily, l/8tl88ly,yollily,bl/dhely, boldly,
', foully, eel-like t tll-looA, play, flame, glass, slave, 8ddl, kettle.
Ex. 151. Pronunciation of the Mid and Back-tongue articulations.
'Z.upe, gape, tulaia, glass, barter, garter, Itrate, grate, 6ack, bag, duclt, dug, peclf., peg, pick., pig, frock, frog
pack,', ( ;k'. xtkt, strict, pidfjiidt, quilLset, k/ik-kwk, 1tnc\Let, clang, clan, thing, thin, dinging, dinning,
mgmg, si /tiling, angktious, compungktion, congkord, ungktuous, Jungktion, longest, long-gest, rung, run.
Ashes, asses, shuie, sign, Oreeshian, adhelhion. shaises, incizhion, speshial, seizhure, Rushian, treazhure,
shrewed, vizhion, suspishious, intruzhion, batch, baj, batu, etch, lej, frets, leech, liej, beats.
Ear, year, ooze, yeuz, booty, byuty, do, den (dew, due), pyure, tyune.
Ex. 162. Error exercises on the articulations.
"Foller," follow, window, sorrow, pillow, shallow. "Runnin," running, writing, speaking, walking,
singing. " Laud," lord, storm, worm, far, first, smart, worst. " Gwacious," gracious, great, green, rich,
rest, rough, right, "'appy," happy, heaven, hymn, hail, when, why, which, while. " Hone," own, and,
air, ill, eve.
St. Co. (New.) * Don't let final dh run into dhth, nor z into zs, nor v into vf.
FOURTH STEP.
63
The soldier's steer," the soldier's tear.
4 That lasts till night," that last still night.
4 Study deceit," studied deceit.
4 A languid aim," a languid dame.
4 His cry moved on," his crime moved on.
44 Luxurious oil," luxurious soil.
" Pray to nobody," prate to nobody.
"Make lean your heart," make clean your heart.
44 Proof of utility," proof of futility.
" Beer descending," beard descending on his breast.
Collective Beading. This practice, commenced
recognised by all who observe with care. Even
L the second step, p. 15, should now be revived
the following well-known musical responses shew
ith great care and constancy.
the natural tendency to the mixed-measures of
Pulses and Accents in Public Speaking. Any
le who listens to a good public speaker may notice
tat the pulses of his speech are of equal length
id constant recurrence, like those of music, but
iat he has a greater liberty of neceut. His accents
metimes fall so as to divide the pulses into three-
ilse measure, but more commonly into two-pulse
vpeech in distinction from the unchanging measures
of song. They are here given in various rhythmic
forms, as we find them in the 44 uses " of different
cathedrals. In the three-pulse forms we may
notice the heaviness of the second pulse when this
measure is sung slowly. Let each example be sung
in exact time and accent.
easure. Some public speakers even beat time
KEY F.
ith their hands while they speak, and nothing
\ d :- 1, :t, d :- II
terrupts the regularity of their movement but
( Spare us good Lord.
iis occasional introduction of a ; hree - pulse measure.
ot:i in poetry and in music if we begin in three-
KEY F.
ulse measure or in two-pulse measure, we must
(Id :1, :t, d :-
mtinue in it. But in prose the two-pulse and
f 1 Spare us good Lord.
iree-pulse measures are continually intermixed in
le same line. Let the pupil try to speak, in a
KEY A.
ear declamatory tone, and with proper emphasis,
j d.d:d d : - .d l|.l,:t| d : II
ie following words, and to mark the pulses and
( We beseech thee to hear us good Lord.
:cents of his voice as he does so. He will then
on understand our meaning : 44 And suddenly
KEY A.
iere was with the angel a multitude of the
\ :d .d d : d.d d : 1 ( : t, d : II
3avenly host." The words 4< heavenly host" we
f We be- seech thee to hear us good Lord.
ay, for the moment, leave out of consideration,
jcause in chanting they would belong to the
KEY G.
dence, and the cadence is rhythmical music not
jcitation.
j : d |d : d .d d : -.1,1 1, : II
\ And bless thine in- her - i - tance.
If we recite these words on a single musical tone,
KEY Gr.
id then write down the rhythms we have used,
( . A A ' ft - t, 1,1-1, II
ley will probably have the following appearance :
1 U U U t l>] 1 1 1 1 < 1 1
( And bless thine in- her-i - tance. ||
Two-pulse Measure. Two-pulse Measure. .
: 1 1.1:1.1 1 : 1 .1
And, in reciting " Thou art the everlasting Son,"
And sudden ly-there was with-the^
every one will admit that it is better to use the
three- pulse measure, thus
Three-pulse Measure. Three-pulse Measure.
Thou : art-the : ever | last : ing | Son
1 : 1 : .1 1 .1 : 1 : 1 .1 II
than to sing thus
an - gel ' a multi tude of-the||
| Thou : art-the | ever : lasting | Son
Here you notice that the first and second measures
are of two beats, while the third and fourth are of
three beats. Some of the old church chants had
three-pulse cadences or closes, but in the recitations
the frequent occurrence of three-pulse measures is
St. Co. (New.)
Chanting. The chant is intended to aid the
united recitation of prose words by many people.
It supplies, therefore, a single tone for the recita-
tion, and a short musical phrase for the cadence of
each line of the words. A melodic cadence at the
64
FOURTH STEP.
Ex. 153160.
end of sentences, is natural to public speakers when
they rise into an excited state of mind : whether
they be fishwomen quarrelling in Billingsgate, or
preachers closing their discourses among the moun-
tains of Wales or of Scotland, or even ministers of
the Society of Friends speaking or praying under
atrong emotion. The reciting tone may be as long
or as short as the words require. It is indicated by
a Hold /TV placed over the note. This elasticity of
the reciting tone should always be kept in mind by
the accompanist as well as the singer. The music
of a chant should always be learnt familiarly and
by rote, before it is sung to words. Then the words
should be taken line by line, and taataid by pattern,
clearly recited by pattern, and sung to the music.
At the present step the pupil must obey exactly the
marking of the recitations. Afterwards he may
learn to make "markings'' of his own. The
present labour will be repaid not only by the groat
enjoyment there is in a freely delivered chant, but
also by marked and valuable improvement in
lihythinical Perception. The teacher can beat
time in pulses, or better still, use a metronome. If
he uses a baton let it move simply from left to
right and back again ; ho will then have his accent
sometimes on one side and sometimes on the other.
Ex. 153. Learn as above the rhythms of Ex.
123. Notice cases of three-pulse measures in the
recitations next before the first cadence of the first
verse, the second cadence of the second verse, the
first cadence of the third, and the first cadence of
the last verse. Two-pulse measures are much more
common in this position.
Ex. 154. Learn as above the rhythms of Ex.
124.
Ex. 155. Ditto Ex. 125. Notice three-pulse
measures from the beginning of the first recitation
of the first verse, of the first recitation of the third
verse, of the first recitation of the fourth verse, and
of the first recitation of the fifth verse.
Ex. 156. Learn as above thcrhythmsof Ex. 1 26.
TIME.
The silent quarter-pulse is indicated, like the
other silences, by a vacant space among the pulse-
diviiona. It is named sa on the accented and se
on the unaccented part of the pulse. The time
exercises should be taught as directed, p. 19.
Ex. 157.
i|l :1 .1 I ,1 .1,1:1 .1
(I TAA TAA-T.U ifffatcfo TAA-TAI
St. Co. (XewJ.
KEY G.
| d : n .s | ,f .PI ,r : d d it
KEY G.
| PI : r .d | ,t, ,d ,r : m .m
ui:v D.
I s :n .f | ,r .m ,f : s .3 I
KEY D.
I s : PI .d | ,1 .s ,f : m .d ;
Ex. 158.
1,1 .1,1:1 .1 |1,1 .1, :1,1 .1, n
tafatefe TAATAI tafatew tafatese
KEY F.
| d ,r .m ,f : s .s | s ,f .m , : n ,r .d , i!
KEY F.
I PI ,r .d ,t, : d .d | f ,f .f , : m ,PI .n , !
KKY D.
| B ,n .d ,m : s .m | r ,m .f , : PI ,f .s , li
KKY D.
| m ,s .PI ,d : PI .s | f ,r .t, , : s ,PI .d , ||
Thirds of a pulse are indicated by a comma
turned to the right, thus : , , ||. The first
third of a pulse is named TAA, the second third TAI,
the third third TEE, and the silences and continua-
tions are named in the samo manner as before.
Ex. 159.
i
1
TAA
: i ,1 ,1 I i .,1:1
taataitcc TAAfe TA.A.SAI
KEY F.
1
d
: r ,m ,f | m ,,s : s i
KEY F.
1
PI
: f ,n ,r | m .,d : d . ||
KEY A.
1
S
: PI ,d ,n | s .,s : s ||
KEY A.
1
PI
:d ,1, ,t, | d .,d :d i
Ex. 160.
<
1 .1
:1 .,1 |1 ,1 ,1 :1 .1
I
TAATAI
TAAfe tataitce TAATAI
KEY F.
1
d .r
: PI .,f | n ,r ,d : r .d 1'
KEY F.
1
PI .r
: d .,r | m ,f ,g : f .PI ;
KEY A.
|d .s,
: PI ,r | d ,t, ,d : PI .r n
KEY A.
1
PI .d
: s .,1 1 s ,f ,PI : r .d
FOURTH STEP.
66
Ex. 161.
(11 ,1 J
f taataitee
: 1 - ,1
taa-aitee
11,1.1,1
tafatefe
KEY F.
|d ft ,s
: m
r A
|d ,r
.m ,f
KEY F.
| s ,m ,d
: PI
r <s
|s,f
.n ,r
KEY A.
Id ,t, ( d
: m
r ^
|r,d
r ,ro
KEY A.
|m ,f jn
: r
r t" 1
1 s ,1
.3 ,f
1 .1
TAATAI
s
.3
What is a pulse 1 It will be noticed that the
six-pulse exercises in this step move more quickly
than Ex. 80, and that the time is most easily
indicated by "beating twice to the measure," as
directed p. 24, and might have been written accord-
ingly in two -pulse measure. Ex. 175 might have
been written thus
s^-iSin'riT
The present plan is only adopted for the sake of
greater clearness to the eye in the time divisions.
All such rapidly moving tunes should be taataid
as " Two-pulse measure abounding in thirds." It
will also be noticed that many of the rhythms,
given in our time-exercises might be written out
more fully by making one measure into two. Tunes
are differently written in this respect in the
common notation as well as in the Tonic Sol-fa
notation. Even Handel in one copy of a tune
puts into two measures the music which in another
copy he puts into one measure and in yet another
into four measures. The principle which seems
to guide composers is this. The quicker they wish
the music to be sung the fewer measures they
give it, and the slower they wish it sung the
more measures they divide it into. They know
that singing quickly makes the accents slighter
and less observable, and that singing slowly
developes accents which would otherwise have
been scarcely noticed. As in common life it is
only by occurrences that we can mark the flight
of time, so in music it is only by accents that we
can measure out our tones. The accents of a
musical passage may be distinguished as the prin-
St. Co. (New.)
cipal and the subordinate ones. The principal
accents should be marked by the divisions of a
measure,and the subordinate accents by the divisions
of a pulse. Whether any particular accent is
principal or subordinate depends much on the rato
at which the music is sung, and is always a matter
of judgment. A pulse or beat we define as a unit
of the principal and regularly recurring accents of
a tune, bnt a pulse is not in all cases an absolute,
undeniable, unmistakeable unit. It is " a measure
of estimation." The composer sings or plays or
feels his music, and where, in his estimation, the
principal accents fall, there he writes the great
pulses of his measure, the subordinate accents
falling into their places within those pulses. But
if the subordinate accents are numerous and regu-
larly recurring, it is often better for the clear
reading of his music that he should treat them as
principal accents. Unfortunately in the common
notation there is no certainty which note (crotchet,
quaver, or minim) the composer means for a
" beat." If writers made it a law that the crotchet
(for example) should always stand for what they
mean to be a beat of their music, we should have
no difficulty in understanding them, but even the
same composer represents a pulse at different times
in different ways; so that the Tonic Sol-fa tran-
slator is obliged to listen to the music, feel the
accents, and write accordingly.
Beating Time. Hitherto the pupil has not been
allowed to beat time. He has only learnt to sing
in time. Because no one can well learn two things
at once, and, consequently, those who try to do so
are constantly found beating to their singing
instead of singing to an independent, steady beat.
There are some, however, to whom the swing ot
the hand or the motion of the foot easily becomes
instinctive. The beating goes on without need of
thought or attention like the swing of a pendulum.
Such persons and such only can use beating in time
as a criterion of singing in time. Hitherto the
teacher has been the standard of time for his pupils.
He has infused into them by watchfulness, by
criticism, by decision, his own feeling of time. He
is striving throughout to make his pupil's sense of
hearing appreciate time ; but when that failed,
there was always his beating (communicating time
through another sense, the sense of sight) to correct
them. If he wishes, now, to give them a criterion
of their own, he may proceed as follows. The
teacher says, " Watch my beating, and do as I do."
66
FOURTH STEP.
He beats the four-pulse measure at the rate of M.
60. The pupils imitate him. This should be done
by one hand, silently, chiefly by the motion of the
wrist (the thumb being always upwards), and with
very little motion of the arm. The finger should
pass swiftly and decidedly from one point of the
beating to the next, and it should be held steadily
at each point as long as the " pulse " lasts. When
this is properly done, the teacher will say, " Now,
you shall beat one measure, I the next, and so on."
This not-easy exercise accomplished, a more diffi-
cult one is proposed. Let each pupil beat one
measure, in turn, all taking care that there is no
pause nor variation in the rate of movement. A
more difficult exercise still but most useful for
establishing the sense of time in both ear and
mind will be for the teacher ;ind pupils to beat
time together for a few measures, and then at a
given signal to drop the hand, and pause for one,
two, three, or more measures (as the teacher may
have fixed beforehand), and to begin beating again /it
the rii/ht moment. In this exercise you will soon
notice how fast time goes with the ardent tempera-
ments, how slow with the heavy-minded, and how
difficult it is for any one to attain an exact sense of
time. The same series of exercises will be pursued
in three-pulse measure, in two-pulse measure, and
in six-pulse measure. A metronome may be intro-
duced as a test, instead of the teacher's own judg-
ment. There are various ways of beating time.
We recommend the following as the most appro-
priate and the most clearly visible. The direction
of the motion is from the thinner to the thicker
end of each dash. The thick end of each dash
shows the " point of rest " for each pulse.
TWO-I-ULSB MEASURK. THKEE-PUI SB MEASURE. FOUR-PULSE MEASURE. >IX-PULSB MEASURE.
NOTE. It is better to boat the second pul.M of
" three-pulse measure " towards the right, than ^as
some do it) towards the left, because it thus corre-
sponds with the medium beat of the " lour-pulse
measure," and the second pulse of three-pulse
measure is like a medium pulse. It is commonly
treated (both rhythmically and harmonically) as a
continuation of the first pulse. Similar reasons
show a propriety in the mode of beating recom-
mended for "six-pulse measure;" but when this
measure moves very quickly, it is beaten like the
"two pulse measure," giving a beat on each accented
pulse.
H. 60. Efforts to remember this rate and twice
as fast, M. 120, and about hulj as fast again, 31. '.'-J,
and between that and 60 two rates, M. 80 and M. 72,
and between that and 120 operate, M. 106, should be
frequently made, as recommended, p. 34. By self
discipline this can be done.
St. Co. (New.)
The Registers. It has been shewn that the
human voices make together one great organ
running through its various registers from the
lowest bass to the highest soprano so that the
voices of a class containing men and women could
run up one grand homogeneous scale of three or
four octaves. See pp. 29 and 32. The compass of
each particular voice is only a portion cut out of
this great scale and taking the registers as they
come. It should be carefully noted that the differ-
ence of male and female voices, as soprano,
contralto, tenor, bass, does not necessarily make any
difference of quality on identical tones. Thus a
contralto, a tenor, and a bass, when naturally
trained, do not generally differ in quality on G,, A,,
and Ji,, and a soprano, contralto, and tenor singing
the identical tones C, D, , could not be distin-
guished from one another except by the shades of
difference which naturally mark individual voices,
Ex. 1626.
FOURTH STEP.
67
or the more marked differences introduced by false
training. Uncultivated male singers are commonly
much ashamed of their weak Thin register until
they have made it strong by practice. Already
some progress has been made in strengthening it
by means of Ex. 104, p. 33. This stacotto koo-mg
exercise must not be discontinued. It may, how-
ever, now be varied after the manner of the two
exercises which follow.
*Ex. ] 62. KEYS F, G, F, G.
_ -- . ^ ~ ^ ~"^
ri'.d':
Kt
Id'.l
: t .s
1 :
koo,
fee.
Ex. 1
63.
KEYS
A, B,
AS, c
:?
iTt
fi
I s.,s :
ft
koo,
&c.
Recognition of the first or Thick Hegister. As
the Thin register was found to be neglected by men
and commonly used by women, so the Thick regis-
ter is neglected by women and commonly used by
men. Many soprano singers do not know what it
is, and even contraltos are afraid to employ what
they think is a man's voice. Mdme. Seiler says it is
quite common for voice-trainers to encourage
women to ignore altogether the upper Thick register
using the Thin instead ; so that when on A, they
do at last enter the Thick register it is on its fully
vibrated tones, and the change of quality is
unpleasantly marked. To enable female pupils to
recognise the Thick register, place the scale (p. 29)
or the Voice Modulator (p. 106) before them,
and then, beginning with a tone (B, A, or Gr)
decidedly within the Thin (their easy) register, let
them sing downwards (guided by the manual signs)
d' s m d, and with increased force on the lowest
tone. This last tone will certainly be in the Thick
register. Having got that quality of tone let them
run up, retaining the same quality, to F. This is
the converse of the process by which the tenors and
basses learnt to recognise the Thin register, p. 33.
Strengthening of the Thick register. Contraltos
and sopranos will require the same staccato koo-ing
exercise to strengthen the lower part of their voices,
which tenors and basses required (p. 33) for the
higher part of their voices. The process of strength-
ening must be upwards from the undoubted
territory of the Thick register towards the border-
land of Thick and Thin. Be careful not to force
pd,
( koo,
n,
&c.
:r, |fT :
>
ni s.
Ex. 165.
KEYS G, A, GjJ, Aft.
Ud,.n,: r,.f|
( 1 koo, &c.
i "^ rY
. *-
S| : Si
tEx. 166.
KEYS G, A,
G J, AJ.
( koo,
_--
&c.
X|ffi:
:> ^
this register too much, for the registers cannot be
made to overlap upwards without injury. Mule
voices may join with the female voices in this
exercise, for it is easy to them, and they may
encourage the sopranos and contraltos, but they
must sing softly lest the voices which need the
exercise should be unheard. Let the following
exercises be used after the manner described p.
33. The men will have to suppose the notes an
octave higher than they are written.
Ex. 164. KEYS A. B, A J.
Id, :-
Blending of Registers. A good singer should be
able to pass from one register to another without
allowing the difference to be noticed. With this
view the voice trainer strengthens on the " optional
tones" (p. 32) the weaker of the two registers 'in
men the Thin in women the Thick) till it equals,
in volume, in quality, and in ease of production,
the stronger one. He then tests the power of the
singer in producing one or the other register at
will, as in the following exercises imitated from
Garcia. The notes in common type are to be sung
in the Thick, and those in italics in the Thin
registers. The effort will be to make the two tones
as similar as possible. Let the pupil take no breath
in passing from one register to the other, and let
him sing each exercise quicker and quicker. Male
voices will sing these exercises in the higher part of
their range, and female voices in the lower part of
their range. Men and women will sing identical
tones. None of the keys must be omitted, because
we have to give exercise to all the small Laryngeai
muscles, through the whole range of the optional
tones. This is a case in which class teaching is
insufficient. It can only set the pupil in the right
way. He must judge his own progress. The effort
to do so will make him eager to enjoy the advan-
tage of individual teaching.
This Exercise can be used for the " Upper Thick," in key C, and for the "Upper Thin" in keys C', D 1 , E 1 , &c. It
may be adapted for the " Small" in keys B 1 , C*, &c.
+ Be careful not to carry the " Lower Thick " above B (or A, for men), but to change into the " Upper Thick."
St. Co. (New.)
68
FOURTH STEP.
Ex. 1679.
Ex. 167. KEYS C, D, C$, Di.
d 1 :,/
d 1 :
d 1
koo, &c.
Ex. 168. KEYS C, D, CS, DS, D. E.
d 1 :r' id' :r' |d' :r' |d' : II
koo, &c.
Ex. 169. KEYS C, D, CJ, D5, D, E, D5, F,
E, FJ.
d 1
koo, &c.
d 1 :<*' |d' :-
Recognition and Management of Optional Tones.
Tenor singers should now systematically study
the best use of their optional tones. First, before
commencing any tune they should notice the key,
and from that ascertain to what Sol-fa notes their
optional tones will fall. The Voice Modulator p.
106 will at first assist them in this. Second, they
should study the phrasing of each passage in which
the optional tones are employed. Third, in cases
in which a piano or forte is required they will
remember that they can obtain a stronger tone with
tho Thick than with the Thin register. Some
persons habitually change the register at a certain
piU-h, whatever the passage sung. Others try to
avoid changing the register within any single
musical phrase, as much as possible. Descending
from the thin register, they keep it as far as they can.
Ascending into the thin register, they begin their
phrase, if possible, in that register. In Exercises
170 to 173 a thin horizontal mark is placed over the
tone in which, for various reasons, it is thought best
that a tenor voice should change into the thin
register, and a double horizontal mark is placed
where it is thought better to change into the thick
register. Let the pupil be required to find the
reasons for each of these changes, and be encouraged
to suggest other and better changes.
A Knowledge of Dissonances is useful to the
singer in making him fearless. If he docs not
recognise the fact that he is striking a dissonance,
ho feels as though something were wrong, and is
tempted to sing falsely. But if he knows what he
is doing he strikes his tone with courage, looks
well to the resolution, and makes it beautiful.
Notice the definition of dissonances, p. 21.
Fart-pulse Dissonances. At p. 21 there is an
explanation of the commonest sort of dissonance
which appears on the weak part of a pulse, Die
part-pulse passing tone. Four other apologies are
fit. Co. (New.)
also accepted by the ear for dissonances on the
weak part of a pulse. When, like s in the follow-
ing | r .,s : s || they simply anticipate the
tone which follows them, when like 1 or t in the
following | d 1 .t : d 1 | s .1 : s || they wave
upward or downward, or when, like f and m in the
following | s ,f : r .m | d || they hang upward
or downward from the proper tone of the chord, or
when, like t and 1 in the following | m .t,
: d .1, | t, || they guide, generally by an upward
step, to the tone which follows. All these melodic
relations are accepted as an occasional apology for
dissonances. In addition to these dissonances
on the weak part of a pulse, dissonances are also
allowed, though less frequently, on the first or
strong part of a pulse. These are all called Fore-
strokes. They nearly all " resolve " (see p. 21) by
going a step downwards. The smoothest " prepar-
ation" for these discords is when, like r in tho
following : r | r .d || the dissonance has j u st
been heard as a consonance in the previous chord.
This will bo called a Horizontal forestroke. The
preparation which stands next in acceptance with
tho ear is when, as s in the folio wing : 1 | s . f ||
the dissonance comes down from the tone above,
liku a passing tone, but on tho strong part of a
pulse. This is called an Oblique forestroke. A less
common apology is when, like f in the following
| .m : f .m || we have a Waving forestroke. Less
frequently still we may have, like m in the follow-
ing | d .r : m .f | s || an under oblique fore-
stroke resolving upward. But when the composer
wishes not to apologi/.e for a forestroko, but to
assert it for the sake of a certain tart effect he leaves
it Unprepared, like 1 in the following : m | 1 .s
: f || . Advanced pupils only will have time to
study these points. They may do so privately by
marking beforehand, in the exercises, the cases they
wish to notice, and, when the time for singing
comes, listening for the effects. Or, if the whole
class is sufficiently skilful and attentive, tho teacher
may lead the class to examine each of the follow-
ing cases and then to sing the phrase softly to
laa two or three times. See Examples of Part-
pulse Passing tones in Ex. 133, I. 1, m. 4, p. 2; and
m. 7, p. 1 ; and 1. 2, m. 4, p. 1 ; and Ex. 172, I. 3,
m. 3, p. 2, a peculiar case. See Anticipation tones,
Ex. 174, 1. 4, m. 2, p. 2. See Waving tones, Ex.
125, m. o,p. 2; Ex. 171, 1. 2, m. 3, p. 3 ; Ex. 174,
I. 3, m. 3, p. 1, 2, 3; and I. 4, in. I, p. 1, 2, 3. See
Horizontal Forestrokes in Ex. 172, 1. 2, in. 1, p. 2
and 3 ; and 1. 2, m. 3, p. 3 ; and m. 4, p. 1 and 2 ;
FOURTH STEP.
69
Ex. 174, L 5, m. 1, p. 3. See Oblique Forestrokes,
Ex. 170, I, 1, m. 1, p. 4 ; and m. 2, p. 4; and m. 3,
p. 4 ; and m. 5, p. 4 ; and MJ. 6, ^>. 4.
Full-pulse Dissonances. All the apologies above
described are also accepted by the car as excusing
full-pulse dissonances. If the music moves very
quickly, Passing tones and other dissonances so
common on the weak part of a pulse are freely
used on the weak pulse, the strong and weak pulse
being treated harmonically as though they were
one pulse. But when the music moves slowly the
ear is not so content with these slight apologies ;
and only the "passing tone" is much used. On
the strong pulse, however, as on the strong part of
a pulse, the various forestrokes are often employed.
When prepared they are employed for the smooth-
ness of melody, when unprepared for the sake of
effect.
See examples of quick moving dissonances in Ex.
141, L 1, m. 3, p. 2 ; and L 2, m. I, p. 2 ; Ex. 192,
L 1, m. 3, p. 2 and 6 ; /. 6, m. 4, p. 2 and 6 ; I. 10,
m. 2, p. 5; Ex. 174, I. 7, m. 3, p. 2. See the
partial dissonance (explained p. 36). Ex. 140, I. 2,
m. 1, p. 2 ; and I. 3, m. 3, p. 2; and Ex. 143, I. 3,
?. 2, p. 2 ; and " disguised " (d for f and fe for t),
Ex. 174, 1. 7, m. 3, p. 4 ; and also Ex. 144, 1. 1, m. 2,p.
1, in which last case the t not being resolved on d
sounds more like a forestroke. See Horizontal fore-
strokes in Ex. 170, I. 1, m. 4, p. 4, in which f, hori-
zontally prepared, continues two pulses and then
resolves on m. It is the same with m in the next
measure and with r in the measure following. The
waving fe in I. 1, m. 4, p. 4, waving against a disso-
nance is curious and harsh. Also in Ex. 174, L 7,
m. \, p. 1; and Ex. 142, 1. 1, m. 4, p. 1. See a case of
" delayed resolution " in Ex. 137, L l,m. 3, where
f passes through a consonance before it is resolved ;
and Ex. 141, 1. 2,m. 3, p. 1, where it passes through
consonance and partial dissonance to its resolution.
See an ZTwprepared dissonance "1 against t" intro-
duced for its own touching effect in Ex. 174, I. 7,
m. I, p. 3. See d and s (Tonic and Dominant)
exercising the privilege of long holding (or pedal)
tones, in spite of dissonance, because of their
relation to the key, in Ex. 138, I. 1, m. 2, p. 2; and
I. 2, m. 2, p. 2 ; and m. 3, p. 3.
New Cadences. In two-part music the full
chords cannot be given. But, for reasons given in
the "Common-places of Music" two-part conso-
nances always stiggest the chords of which they
form a part. Thus, a, with d above it suggests the
St. Co. (New.J
chord DC ; m with s above it suggests, not the
" unmeaning " and seldom used chord Ma, but D5 ;
t, with r above it suggests, not the " weak " chord
T, but S ; 1 with f above it suggests Fb, and so on.
Thus interpreted, the exercises in this step intro-
duce us to two new cadences in addition to those
(the D, the S, the F D, and the L cadences) which
are named on p. 48. See the uncommon cadences
on F and R in Ex. 137. See what we call S D
cadences in Ex. 142, and a F D cadence in Ex. 143.
See what we call a "weak -pulse cadence" in Ex.
141, L 2, m. 2, p. 2 ; and a " F D weak-pulse
cadence " in I. 1, in. 4, p. 2.
Phrases, Sections, Periods. The nature of a
cadence has been explained at p. 48. There it
has been shewn that the cadence naturally cuts the
melody into parts, and that these parts are called
"Sections." "Phrases" are divisions of melody
within a Section. "Periods" are divisions of
melody including two or more Sections. In ex-
tended pieces of music we use the word " strain "
to represent several periods combined in one melodic
whole. A Section, which is two measures in
length, we call a Duain, one of three measures a
Triain, and one of four a Quadrain.
Musical Form. A good form in house or orna-
ment or animal must be symmetrical and varied
and adapted, in all its parts, to its chief purpose. So,
in music, awell-formed tune has symmetry and pro-
portion in the length of its principal parts or "lines ;"
it has both symmetry and variety in the rhythms
and melodic replies of its musical phrases ; and its
harmony as well as the style of its melody combine
together to express the general sentiment desired. A
disjointed, ill-formed tune would be like a picture in
which a number of men and women beautiful and
ugly, should be thrown together " any how." A
well-formed tune is like those men and women
artistically grouped in one picture where the
beautiful are placed forward and the ugly kindly put
in the shade, and the colours and postures all
arranged for some unity of effect. It is pleasant
when one sees a house or an ornament or an animal,
to "know its points" of excellence, but we can
receive much enjoyment from them without so
intelligent an eyesight. In listening to music the
case is similar. But in sinying music the case is
different. For the singer is an Artist. The sculp-
tor and the painter can present their own works to
the public view. But the musical composer is de-
pendent on another artist the singer or the player
70
FOURTH STEP.
to present his works. By singing loudly or
softly, quickly or slowly, in various places and
various (Ic^rei'S, the singer can make or mar the
handiwork of the helpless composer. Every intel-
ligent singer will therefore feel it his duty to study
his music beforehand, and to fix in his mind how,
by the art of Expression (p. 30), its various rhyth-
mical divisions and melodic ideas are to be dis-
tinguished and "set off' one from the other, how
he can change a bare outline into a coloured
picture. The main principles of Melodic Relation
have already been suggested under the headings
" Relative motion of parts" and "Imitation," pp.
36, 37. Some ideas of "phrasing" or marking
out of melodic divisions are suggested under the
heading "Breathing-places," pp. 9, 30. Other
principles of Rhythmic Proportion may be easily
apprehended, and then an examination of a few
examples will shew the pupil how to begin this
enjoyable study. A fuller development of it is
found in " Musical Theory," Book III.
Parsing or Analysis of Musical Form. The
practice of requiring a pupil to make a written or
verbal analysis of the tune about to be sung is very
useful. Even elementary pupils should answer
the first and second questions,
1st. What is the Form as Psalm-tune, Song,
Dance, March, etc.
2nd. What are the Key, the Measure, the Rate,
and the Style P
3rd. What is the Rhythmical Division ? (That
is, does it divide itself into two principal parts, or
into three P It it Two-fold or Three-fold ?) And
what is its Cadence design P The first " Cadence
design " makes its principal dividing cadence (the
most important cadence next to the final one) on
the first sharp key ( S D), or in a minor mode tune
on the relative major (D) ; the second, on the
Dominant S i or SE M ) ; the third, on the Tonic
generally, with its Third or Fifth in the air (D
D5DorL 3 L5L); and the fourth must have some
other Cadence in that place.
4th. What is the Structural Plan ? That is,
describe or mark the place where the Periods and
Sections (p. 69) of the Tune begin, using the
Roman figures, I, II, etc., to indicate Periods, and
the small capitals, A, B, etc., to indicate Sections.
Thus IA means First Section of First Period.
St. Co. (New.)
5th. What are the Transitions or Modulations
most worthy of note ?
6th. What are the Principal Responses ? That
is, first, (or Pds.), what arc the principal Melodic
or Rhythmic replies (see Imitation, pp. 36, 37),
of Period to Period ? Second (or Sec.), What are
the principal Melodic or Rhythmic replies of
Section to Section within each Period? Third
(or Har.), What are the principal points in the
relation of " Parts" in the Harmony ? (See above,
p. 36).
7th. What are the most interesting devices,
that is, Sequence, Fugal Imitations, etc. ?
8th. What is the Emotional Development and
Point? That is, describe how, in the successive
Sections, the " feeling " of the tune rises and falls ;
and say which in your opinion is the most remark-
able and effective point (whether of elevation or
depression) in all the tune.
Examples of Parsing. The following examples
should be tested by singing over and over again,
and comparing one with another the various .Sec-
tions and Periods of the tune. The teacher will
find useful examples of Parsing from the Charts in
" Teacher's Manual," p. 194.
Ex. 133 is
1st. A Psalm-tune.
2nd. In key A, in two-pulse measure, of firm
and prayerful style, about M. 80.
3rd. Is Two-fold, and of the first cadence
design.
4th. IA a Quadrain, IB a Triain, lengthened by
the "hold" to a Quadrain; HA a Quadrain, II
Triain, sung as a Quadrain.
5th. IB First Sharp Cadence.
6th. (Pds.) HA contrasts with IA by setting of
f against n' otherwise it imitates it. IIn contrasts
the r 8 against the g r of IB, and has contrary
motion in its second phrase. (Har.) contrary
motion of parts at the end of IB, and similar
motion at the beginning of HA.
7th. None.
8th. IA seems to make a quiet assertion with a
double emphasis on n- IB seems to give an excit-
ing reply ; HA the assertion made more yolemn by
f twice emphasized. HB, the joyful sure decision
leaping up to the brilliant g and making the "point"
of the tune by falling on the solemn f .
Ex. 1701.
FOURTH STEP.
71
Exercise 137 is 1st. A song for S and C.
2nd. In key B[j, in four-pulse measure, in a
bold style, at M. 112.
3rd. Is Two-fold, and of the first cadence
design.
4th. IA, a Duain, IB, Duain, Ic, Duain, ID,
Duain ; HA, Duain, IIu, Duain, lie, Duain, HD,
Duain.
5th. First sharp extended in ID.
6th. (Pds.) HA B has contrasted motion to IA .
(Sec.) IB is a rising imitation of IA, and ID simi-
larly rises out of ic. HB imitates HA a third
higher, He again returns strongly to the rising
motion which sets off the wide intervals and the
elegant rhythm of IIu. Rhythmical unity in the
beginning and ending of every Section till the last
which makes the rhythm of the last more effective,
(liar.) I has principally contrary motion between
parts ; HA opens with contrary motion, IIu has
chiefly similar motion, He has contrary motion,
HD has oblique and similar motion.
7th. A melodic sequence in HA and B.
8th. IA, a resolute thought (with TAA -AATAI
and accented s and d)> IB, repeated more earnestly,
Ic, a rising feeling, ID, passionate resolution ; HA,
quieter counsels, HB, repeated in loftier strain. He,
return of the passion bringing the tune to its
" point " of greatest energy, Ho, the subsidence
of passion in settled resolve.
When a systematic course is pursued, the exer-
cises of the 3rd and 4th Steps can be taken in the
following order : 97, 115, 134, 136, 140, 141, 142,
143, 144, 145, 113, 119, 120, 174, 175. Some of
the exercises with fugal imitations are too difficult
for the present step. F or a fuller course, apply to
the Secretary of the Tonic Sol-fa College.
Ex. 170. KEY C.
s : 1 .t I d 1 :
Ho - san - na,
: | .d : r .n
HOSANNA.
Optional Tones, d 1 r m' f ' *
Hallelu- jah!
-.lit.d'lr 1 :
Ho-san - na,
f : - |- .r : m.fe
Hallelu- jah!
-.t : aij^ln 1 :
Ho-san - na,
s : |- .n : f .s
Hallelu- jah!
Ma Inzer.
-.d'lr^lf :-
Ho-san - na,
1 :- |-.l:s.fe
Hallelu-
/ - .f 1 : n'.r'ln 1 :
-.n'rr'.d 1
r 1 :-
na,
-.f :n.r
Hallelu-
HALLEI
otional Tones
-jah!
-.1 :s.fe
- .r 1 : d'.t
1 :s.f
n :- !- :-
na.
d :- |- :-
jah!
Mainzer.
f : l-.f'in'.r
\ Ho-san - na,
is : |-.s :f .n
^ jah! Hallelu-
Ei:. 171. KEY C.
s : 1 .t |d' :
Hal - le- lu-jah !
n : | - .s : f .ft
Ho-san -
f :-
jah!
4
1 : t .d 1
Hal - le -lu
f :-
men,
r 1 :-
men,
r :t .1
jah ! Hal -
Ho -
n :
jah!
,UJAH.
d 1 r 1 n 1 f
Hal - le -lu
s :
men,
d' :
men,
n .f : n .r
san
- .f : n .r
Hallelu-
n'.Tzf'.n'
-jah! A -
- .t : 1 .s
men, A
1 :r'.d'|t.l:s.f
A
n 1 :- l-.n 1 : r'.d'
A -
-.r 1 : d'.t
A -
t :
A
|s .1 :s .f
men, Hal - le - lu -
di . I . _
1
men.
men.
men, A
n : d'.t|l .s : f .n
A -
s .f : n .r
jah ! Hal - le - lu -
le - lu-
jah! A
A stroke over a note thus shews where the Tenors are recommended to introduce the thin register.
and a double stroke thus = shews where they are advised to use the thick register.
St
(New.)
72
Ex. 172. KEY G.
FOUJRTH STEP.
AMEN. Optional Tones, m f s 1
.d : r .n
:f
.s,f
n .d 1 :
t
.d'
:1 .t
d'.s,f:pi
.d :
r
t,
A
men,A
.d :
r
.n
: f .s,f
men, A
n :
men,
.n :
A
f
.r
A
.
-
-
Albrechtsberger.
: .1 :f .s,f
n .^j_^.jij_-_.JL
men.A
d .n J^_j8 ' d
men, A - men,
f. G.
d :"t, .d : r .t.
D. t.
ir'.d 1 :- .1
t,l:t .d',r'
t|pi ; r
: s
A
n 1 .r'.d 1 ; t .d 1 : f
men, A - men,
d .f :-
n .s,f: n .d : r .ti
men, A
n .1 : r : s
: - .r
men,A
men, A
n .d 1 : s r .n : f .s,f
men,A
d .s : r .n : f .s,f
nun, A
n : ti .d : r .s,
men, A
n,8.1,t: d'
men.A
d : ,n.r,d: r
men, A
:- .t
d' :-
men.
d :-
- .d :-.t|,l ( : t, .d,r
THE CUCKOO.
Ex.173. KEY C. M. 112. Round for four parts. Optional Tones, d' r 1 n 1
s . : s .,s | n 1 : d 1
Hark! 'tis the cue - koo's
d 1 . :
: d>
List to the mol - low
voce,
notes,
From
G. t.
Tho
:1
:f
yon - der aha - dy I grove ;
s : - .1 1 s_.f_: n .
song I dear - ly
f. C.
love.
A. L. C.
n' d 1
Cue - koo!
: n
Cue - koo !
n 1 d 1
Cue - koo !
Cue koo !
r\ :n.,n|s : d'
Hark! 'tis the cue - koo's
St. Co. (New.)
t :
voice,
: f n : f |n : r
From yon - der sha - dy
grove ;
;[
'. n .,n | n : d
n
List tothemel - low
s :
notes,
FOURTH STEP.
G. t.
The
PI ;
song
__
I dear - ly
f. C.
love.
73
^; d : d .,d | d : n
il
Hark! 'tis the cue - koo's
d : d .,d I d : n
List to the mel - low
s :
notes,
CODA. To be sung by all together.
/=
:d
From
G. t.
The
:d
: t,
yon - der sha - dy
d : - d | Si : S|
song I dear - ly
j, :m' |d"
Cu -koo!
Cue - koo !
Cue - koo !
grove ;
f. C.
love.
PP
D.C.
Cue - koo !
Ex. 174. KEY G.
l.The
3. In
.8,
THE MAYTIME.
WORDS BY J. S. STALLYBRASS.
A. L. C.
d :
Id :
S,
May
time,
the
May
time,
in
PI, :
In, :
s,
- Id
May
May
s, :
d :
time,
time,
how
oh,
s, .f : r .t| |s : - .s, \
love - ly and fair, howJ
waste not the hours, oh, \
: .si |s, .f : r .t, t
How love- ly and]
Oh, waste not the/
PI .,f : n .r |d
love - ly and fair, What
waste not the hours, Go
s : - .S| |n .,f : PI .r
fair, how love - ly and
hours, oh, waste not the
n : 1 .,1 |r ,fe : - .fe
pas - time and pleasure are
twino you sweet garlands of
d :- .d |d :d .d
fair, What pas - time and
hours, Go twine you sweet
s : | :
there ;
flowers ;
t| .r : - .d 1 1| : .1
pleasure are there ; The
garlands of flowers ; Oh !
: I
: .r
t| :d .d |r .,<
The
And
1 :t|
- eth,
- dows,
night - in - gale sing
far on the mea
St. Co. (New.)
.r
PI :
f
.f |S .,f
: PI
r,d
<r:
n,r
,n
f,n ( f
: s,
40
The
lark
it
up - spring
-eth,
La
la
la~
la
la la
la.
La
And
deep
in
the sha -
dows,
La
la
la
la
la la
la,
La
8|,d,ti:
1.,
il, | t|,PI ,1*
:d, t d
t,.
d .
|r .
: n .
|
h,
La la
la
la la la
la, La
la
la
la
la
ws,
La la
la
la la la
la, La
la
la
la
la
i
74
FOURTH STEP.
1 . : s . |f .
: n .r
d .r :- .r
n :- .f
s : 1- :s .f i
la la la.
O - vei
field and hill anc
dale, - ver
la la la,
There it
fulness of
life anc
)<>v, Andtherel
f ,8 ,f : n ,f ,n | r ,n ,r
:d .
.t| : t| .d
.81 : d .r
n :- 1- : ,
La la la la la
la,
O'er field
and hill anc
dale.
La la la la la
la,
Is fulness
of life anc
.iy- /
n .f : - .n|r. : - .r
d :-
- I- : .s
s : - |n : .n n : |d : .d
field and hill and
dale.
The
May - time, the May - time, the
reacheth us no an-
noy.
.r : r .d|- .d : t,.S|
d : -
- I : .n
n : Id : .d 8) : |ri| : .ni
O'er field and hill and
dale.
The
May - time, the May - time, the
There rcacheth us no an
-noy.
FINE. ^
D. t.
ti : r | - : f
n : -
- Id '
: 1 : : | : .id'v
lovo ly
May
time.
The/
8| : ti 1 : t|
d : 8| | n, .d
d : t|.l|| n l : s .f n .f : n .r |d : d i
lovo ly
May
time. 2 The
jates of the earth that were lock'd up so fast, Let ]
f. O.
d 1 :t .1 |ni :
8 .f
n .f : n .r
d : t,
d .,d : r | n : fe .,fe .
gates of the earth that were
lock'd up so fast, Let
out their poor pris - 'ners atr
r .,r : r | n ti :
T.| ,,t|
d : - .8) |n, : si
d :d |d :- i
out their poor pris - '
nors at
last. Let out their
pris - 'ners at
8 :- |- :
.f
n .f :- .f
i .,r : d .n
s .s : 1 .1 1 8 .f : n .r v
last,
As
li - lies, and ro - ses, And
vi - o - lets for po - 8ies,Andthel
t, :- |-
t,
d .r : - .r |d .,t ( : d .d
n .n : f .f In ,,r : d . <
last,
As
li - lies, and ro - ses,And
vi - o - lets for po - sies,
D.C.
d .r : - .r |n : n .f
8
| 8 : 8 .
" n .f : - .n
r :-.r d : - | - n
pinks,and the bunch-es ol
blue
bells, And t
ie little red pirn - per- nels.
.t| : t|.d | - ,8|: d ,r
n :
- |n :
.r :r.d -.d : t .s, d : |
The pinks and bunches o
qbh
bells,
The little redpimper- neis. []
8t. Co. (New.)
FOURTH STEP.
76
Ex. 175. KBY D.
THE SEA FOB, ME.
St SOPRANO.
A.L.C.
: : : :
: : : : s
* :- :- - :- :*
* :- :-
CHORDS.
n ;n in |n '.- '.r\
The
n in in | n \
sea for
ti id :r |n :r :d
me,
r :- :-
La la la la, &c.
d :d :d |d :- :d
d :d id |d :- :
s, :l, :t, |d :t, :1,
t, :- :-
- :- :s
. :- :i )' :- :r'
* :- :- - :- : '
") ores
I '.- '.t \$ '. \l
the
deep blue sea for
me,
Beau - ti - ful, ma-
It, :- :
:n :n :f :f
in :n |n :- :
f :- :s |1 :- if
is, :- :
d :- : |s, :- : d :- :- |- :- :
f :- : |f :- :
cen
s :- :- |rf' :- :-
do.
t '.- \cfl | r 1 : \$
f J
n \ ._ ._ ^
jes - tic,
glo - ri - ous, and
free;
Rush
in in I in in
r :- in |f :- :n
:r :r |r :- :
d in is
d :- : |d :- :
si :- : is, :- :
S} .~~ ^ .
d in :s
- :' :*'
r \ ._ ;_ _ ; r l ; r l
r ] :- :- - :- \r
?i
- ing a -
long g with re -
sist - - less
might, Or
Id 1 :s :n
si :t| :r |s :r it
a, :ti :r |f :r :t.
d :n is |d' :- :
|d ! :s :n
s, it i r s i r it
s. :t, :r |f :r :t|
d in :s |d :- :
rf" :- \t
if :- :*'
ing the
t :- :l
\l :- it
lor to
slum ber
light. (
luU
sai
n :- : |f :- :
s :- : |1 :- :
fe :- : |fe :- :
: it.
d :- : |r :- :
n :- : |fe :- :
r :- : r :- :
s, :- :-
- ;- : *
* :- :- - :- :*
s :- \- |- :- :*
rf' :- :- - :- :rf
The
sea for
me, the
sea for
It, :- :
t, :d :r |n :r :d
r :- :- it, :- :
n :f :s |1 :s :f
- :- :
s, :1, :ti Jd :t, :1 (
t, - :- is, :- :
d :r :n |f :n :r
St. Co. (New.)
FOURTH STEP.
me.
the
n :- :- |d :- .
deep
blue
:n :n | :n :n
sea for
:s :s | :f :f
s :- : |s, :- :
me,
:n :s
FINK. A. t. dolce.
Id 1 :s :n
:n :n |n :-
d :- :- l- :-
Our
ship
on its
:d :d |d : :
bo
t, :
s, :i
smooth
d :d :d |d
ly
s :- :- |-
glides,
n :n :n |n
d :d :d id
s :- :/ \n :
Light - ly o'er
n :- :r |d :
di :- : id, :
the
bil
I- :/ :n
lows she
Hi :-
If, :-
r
gai
t,
r.
|fe, :- :
t\ :-
rides;
s, :- :-
Then
d :-
join
si :
n, :
:- I- t*i :d
us
f, :fi :f, if, : :
grate
t, :t, :tj |t :
si :si :BI | S| :
ful
song,
d :d :d |d :
d, :d, :d, d :
As
to ou
Id :- :r
Id, :- :
St. Co. f'Ji
home
|r :- :
borne
d, :- : |f, :- : is, :- :
f. D.
long.
d :- :/ \
on - wardJ
n, :- :g| (
d, :- :
D.s.
FOURTH STEP.
77
Modulator Voluntaries now include transition of
one remove. These should not be made too difficult
by wide and unexpected leaps on to the distinguish-
ing tone ; nor too easy by always approaching the
distinguishing tone stepwise. While the effects of
transition are in process of being learnt these exer-
cises may be solfaad, but the teacher cannot now bo
content with solfaa-ing. Every exercise should also
be laad, p. 37, and that to the Italian laa, p. 2.
Two-part Modulator Voluntaries interest the
pupils much and form good voice exercises when
sung to the pure and open skaalaa, and the simpler
they are the better for this purpose. But if they
are made difficult to the pupil they become difficult
to the teacher and his attention is so taken up with
the music he is making that he forgets to listen for
the proper quality of voice. The teacher who
would use only good two-part music should prepare
such exercises carefully.
Sight-laa-ing. The laa-voluntaries are really
sight-singing exercises, if the teacher does not get
into self-repeating habits of pointing. See p. 42.
But, at their best, they give no practice in reading
time at sight. Therefore the absolute necessity of
sight-laa-ing from new music (as the monthly
Reporter) or the black-board.
Memorizing the three keys. The pupils should
now know from memory, not only what is above
any one note on the modulator and what below it,
but what is on its right and what on its left. The
one key no longer stands alone on the mind's modu-
lator. It has an elder brother on the right and a
younger on the left, and each of its tones bears
cousinship to the other two families and may be
called to enter them. Therefore at all the later
lessons of this step exercises should be given in
committing to memory this relationship, p. 51.
The pupils must learn to say these relations, collec-
tively and each one for himself, un'thont the modu-
lator.
Memory Patterns. It is difficult to indicate
divisions of time by the motions of the pointer on
the modulator with sufficient nicety to guide the
singer in following a voluntary, and it is important
to exercise the memory of tune and rhythm. For
these reasons our teachers give long patterns
extending to two or more sections including some
of the more delicate rhythms. These patterns are
given laa-ing but pointing on the modulator. The
pupils imitate them, without the teacher's pointing,
first solfaa-ing and then laa-ing.
St. Co. (New.)
Memory Singing. The practice of singing whole
pieces to words from memory, in obedience to the
order " Close books : eyes on the baton," is a very
enjoyable one. The singer enjoys the exercise of
subordination to his conductor along with a sense
of companionship in that subordination, and de-
lights in the effects which are thus produced. This
practice is very needful at the present stage in order
to form a habit, in the singer, of looking up from
his book. This should now be his normal position.
But, as from necessity, the learner's eyes havo
hitherto been much engaged with his book, he will
havo to make a conscious effort to form " the habit
of looking up." Occasional " Memory Singing '"
will make him feel the uso and pleasure of this.
Ear Exercises, as at pp. 24, 42, will fasten on
the mind the mental effects of fe and ta.
Time Ear Exercises, as at p. 24, should still be
continued with the new difficulties of time.
Dictation, as at pp. 12, 24, with the new language
I of time just introduced, will now be carried to a
i much greater extent. Copies of tunes belonging
j to this step from other courses, or original compo-
! sitions, or pieces for special occasions, can thus be
rapidly multiplied. When once the practice of
Dictation and the use of the " Tonic Sol-fa Copy
Books " has got into familiar use in school or class
many things can be done by it. Some schools are
taught entirely by a Modulator, a set of Wall
Sheets and Copy Books. The further we go in
Dictation the more useful the time-names become.
The "announcements" for Ex. 174, I. 3, m. 2, &c.,
would be as follows : " TAA m " "TAATAI f f"
<; TAAfe s f" "TAA m" " taataitee r dr"
" taataitee m r m " taataitee f m f " taasaitee
8 S" " TA.A.SAI 1" "TAA&47 S" TAA.SA1
f"_ TAATAI d r" "-AATAI r" &c. The third
measure of the same tune would be announced
thus " TAATAI s-one f " " TAATAI r t-one."
Pointing from memory and Writing from
memory, as at pp. 12, 24, should still be practised.
The second does not at all take the place of the
first. We have known pupils who could write from
memory, but could not point the same tunes on the
modulator. It is important to establish in the
! memory that pictorial view of key relationship
which the modulator gives, especially now that thd
studj' of Transition is added to that of the scale.
78
FOURTH STEP.
QUESTIONS FOR WRITTEN OR ORAL EXAMINATION.
DOCTRINE.
1 Name the tones of the chord of F.
Say in what respect it is like the chorda
1) and 8 ? IIow is it related to the chord
D. and how would you describe its
mental effect !
2 Describe the chord "8. In what
case is the dissonant effect of /a*
against toh more slightly felt ? How is
the /ah in this chord commonly pre-
pared, and how is it always resolved I
3 What is meant by " ambiguity of
chords," and which of the chords can-
not be imagined to belong to more than
one key ?
4 What is a major chord ! A minor
chord ? a diminished chord ? and
which of these are in themselves the
most acceptable to the ear I
6 What is the difference between
the tones ray and rah ? Which tones
of the scale require rah to tune with
them, and which ray t
6 What are the tones of the chord
RAH ? In what position is it most
commonly found ! And how would you
describe its mental effect I
7 What are the tones of the chord
T? How are ita root and fifth
usually resolved T In what position
and under what circumstances is it
commonly employed, and what is its
mental effect ?
8 What are the tones of the chord
Lt In what position is it used apart
from the minor mode t And what
chord is used interchangeably with it t
What is its mental effect t
9 What are the tones of the chord Mt
Can it be easily substituted for the
dominant or sub-dominant like the
chords T and R ! Is it much used T
10 What dissonance in there in the
chord "K ? And how is it prepared and
resolved ? For what chord, in cadences,
do modern writers often substitute 7R6 t
11 What is the chief source of men-
tal effect in a chord I And in what
position is that mental effect best
developed !
12 What is a cadence ! Name the
last three or four chords of a tonic
cadence. Of a dominant cadence. Of
aplagal cadence. Of asm-prise cadence.
13 What is the principal case in
which a chord is used in its e position,
and what is the peculiarity of this case I
In what other cases is the c position
allowed, and what are its three princi-
pal apologies ?
14 Can you remember any pecu-
liarity in the doubling or omission of
the third which belongs to tl- - .?hord "8!
st. Co. (y.-v).)
Or any other peculiarity which belongs
to minor chords generally ?
15 Where are the little steps of the
scale t The greater steps 1 The smaller
steps I By what intervals are the two
little steps of the scale separated from
one another ? How can you define doh J
16 Which are the most markedly
characteristic tones of the scale ? And
how may they be described t
17 What is transition ? In what
respect are those tones of a tune changed
which do not change their pitch t
18 What is the sharp distinguishing
tone, and what is its effect on the ear ?
What is the flat distinguishing tone
and its mental effect 1
19 From the ear's dislike to the tri-
tone as a melodic progression, what
melodic phrases, often repeated, natu-
rally suggest transition ?
20 What is meant by the first sharp
key ! The first flat key ! In going to
the first sharp key, beside the substi-
tution of the piercing tone for the
desolate tone, what change of effect
takes place in the tone a third above
the distinguishing tone ! Does any
other change besides that of effect take
place on the lah I (see " Grave ray " p.
46) In going to the first flat key,
besides the change of a piercing for a
desolate tone, what change of effect,
and what other change takes place in
the third above the new distinguishing
tone!
21 What is the difference between
the principal and a returning transi-
tion!
22 What is a bridge tone ? Give
examples of a bridge tone making tran-
sition through the distinguishing tone
of the new key.
23 What is the meaning of the little
notes placed to the right or left of the
key signature in transition !
24 What are the general mental
effects of transition to the first sharp
key ; And to the first flat key t
25 How would you indicate transi-
tion by the manual signs !
26 What kind of effect is produced
on the mind when / does not move to
toh in the next chord, or when ta does
not go to lah T And by what name is
that effect called ?
27 What is the commonest case of
transition to the first sharp key, and by
what name is it called ! What is the
difference between the flat and sharp
keys in this respect !
28 What is the commonest case of
transition to *h 'Jist flat key, and by
what name is it called ! How does the
sharp key differ from the flat in this
respect !
29 How do you define extended
transition ! Which of the two transi-
tions is more used in this way ?
30 What is a sharp ? And what
relation does it bear to the tones which
stand below and above it in the scale I
What is a flat t And what relation
does it bear to the tones above and
below it in the scale ?
31 On what particulars of knowledge
and skill does a good musical recitation
depend? What are other words for
the articulations and continuations of
voice ? Which of these two is the more
important t And why I Why is the
other of the two to be first studied ?
32 Name and illustrate, by example,
all the five lip articulations.
33 Name and illustrate the two arti-
culations of lip and teeth.
34 Name and illustrate the two arti-
culations of Tip-tongue and teeth.
35 Name and illustrate the five arti-
culations of Tip-tongue and palate.
36 Name and illustrate the two arti-
culations of the Mid-tongue with the
Palate, in which the Tip-tongue takes
a very decided part, the two in which it
takes a less decided part, and the twc
in which it takes no part.
37 Name and illustrate the three
Back-tongue articulations.
38 Name the six articulations with
shut passage, placing the two qualities
(breath and voice) together in couples.
39 Name, as above, the eight articu-
lations with central passage.
40 Name, as above, the five articu-
lations with side passages.
41 Name the three articulations with
.
42 Describe the aspirate H. In the
articulations what organs of speech
come in contact and separate ?
43 Which are the consonants least
capable of being sung ' Which are the
six Hisses ? Which are the six Buzzes !
How far are the Hisses and Buzzes
capable of being sung ? Which are the
three smothered consonants 1 Which
are the five which can be murmured or
hummed. What is a Glide T What is
the difference between the Glide joining
b and oo and that joining 6 and eel if
two sounds are kept distinct, but pro-
nounced rapidly one after the other,
what more do they want to make them
into a syllable t As scarcely any of the
consonants are pleasant when sounded
alone, what part of a consonantal effect
FOURTH STEP.
79
is it that can be really sounded ? And
what habit in the management of the
organs of voice is it therefore important
for the singer to form 1
44 Describe in writing ten common
errors in the use of consonants.
45 What is the difference between
the recurrence of accent among the
pulses of music and among the pulses
of public speech 1 Give illustrations of
the " mixed measures " of speech.
46 What is the purpose of a chant,
and into what principal parts is it
divided ? What governs the length of
the reciting tone? In teaching the
music and words of a chant, which
should be learnt by heart throughout the
whole ? How should the recitation of
words be studied ?
47 What is the name for a silent
quarter of a pulse, when it comes
within the accented half ? When with-
in the unaccented half? How is it indi-
cated in the notation ?
48 By what vowel is the first third
of a pulse indicated ? the second ? the
last ? How are thirds of a pulse written
in the notation ?
49 What different sorts of accent
are there in a musical passage, and
how do you define a pulse 1 What
must the Tonic Sol-fa translator do
when he wishes to know whether
crotchet, quaver, or minim, are treated
as the pulse in a common notation
tune ? How should quickly moving
sbc-pulse measure be taa-taid 1
50 Why is the pupil not taught to
beat time in the early steps ?
51 Describe the kind of exercises by
which the teacher endeavours to infuse
into his pupils a sense of time.
62 Describe the most clearly visible
ways of beating two-pulse measure
three-pulse four-pulse six-pulse.
53 The beat to the right being asso-
ciated in four-pulse measure with a
medium accent, why is it also suitable to
the second pulse of three-pulse measure ?
54 Does the quality of tone in the
lower part of a woman's voice differ in
any respect from that of the same tone
when produced by the higher part of a
man's voice ? What register of their
voices are male singers commonly
ashamed of before their voices are
cultivated ?
55 What register is most neglected
in uncultivated women's voices? Des-
cribe the means by which the teacher
leads his female pupils to recognise
their thick register.
56 Describe the process by which
the thick register in women is strength-
ened.
57 What is meant by the blending
of the registers ? Describe the exercises
by which the thick and thin registers
are equalized.
58 What are the Sol-fa names of
the optional tones of a tenor voice in
key C 1 Q ? Bi? ? F ? A ? D ? If a
group of tones commencing on an
optional tone ascends above Gt, in which
register would you begin it ? If such a
group commencing below the optional
tones ascends to F, in which register
would you begin? If such a group
beginning above G descends into the
optional tones, what register would you
use ? If other things are equal, which
register would you prefer on the op-
tional tones for a forte passage ? for a
piano passage ?
59 What is the advantage of a
knowledge of dissonances to the singer ?
60 What are the five principal
apologies for a part-pulse dissonance
on the weak part of a pulse ? What is
the common resolution of part-pulse
dissonances on the strong part of the
pulse ? What are the three prepara-
tions for such dissonances? And the
names for those preparations? Why
does a composer sometimes leave a dis-
sonance unprepared ?
61 When a class is competent to
study this subject of dissonances, how
does the teacher introduce it practically
to their attention ?
62 Among full-pulse dissonances,
which of them are used more freely
when the pulses move quickly than
when they move slowly ? How are
forestrokes used when smoothness of
melody is the object, and how when
dissonant effect is desired ?
63 Describe the six additional ca-
dences introduced in the two-part
exercises of this step.
64 What is a section ? What is a
phrase ? What is a period ? What is
a section of two measures called ? One
of three measures ? One of four ?
65 What are the three principal
element* of good Form ? Why is it
more important for the singer to study
the principles of musical form than for
the listener ?
66 What are the three questions
which even elementary pupils should
answer in respect to every tune, before
it is sung ? What are the other
questions which pupils should answer
in a complete parsing of musical form T
67 How should modulator volun-
taries at this step be conducted ?
68 Whence the necessity of sight-
laaing from books ?
69 Whence the importance of memo-
rizing the modulator !
70 Why are memory patterns f
use?
71 Give reasons for the practice of
memory singing.
72 What new powers of dictatiom
do the time exercises of this step bring
to us?
73 Why should pointing from
memory as well as writing be con-
tinued ?
74 Hold a steady tone with one
breath for twenty seconds.
75 Sing with a beautiful forward
quality of voice each part of Ex. 121 in
key E, M. 70.
76 Name pulse by pulse the chords
in the first and third measures of Ex.
122, p. 45.
77 Laa in perfect tune the second
part of Ex. 122, while your teacher or
some other person, with correct voice,
laas the first or third part. p. 45.
78 The teacher having caused to be
ung to figures consecutively, chord by
St. Co. (New.)
PEACTICE.
chord, Ex. 122, omitting the second mea-
sure, let the pupils say to which figures
the chord Da was sung ; the same with
Exs. 123 to 126. Even elementary pupils
should know by ear the mental effects
of the principal chords in their a posi-
tion, pp. 45 to 47.
79 In the same manner let the pupil
distinguish the chord of Sa in Exs. 122
to 126.
80 In the same manner let the pupil
distinguish Fa in Exs. 122, 123, and 124.
81 In the same manner let the pupil
distinguish ?Sa in Exs. 122 & 123.
82 In the same manner let the pupil
distinguish La in Ex. 126.
83 Listen to the laaing of Exs. 123
to 126 and name the cadences, p. 48.
84 In the same manner as questiom
78 let the pupil distinguish the chord
D6 in Exs. 124 and 125. This and the
following four questions (to 88) may be
answered by the more advanced pupils.
85 In the same manner let the pupi
distinguish DC in Exs. 124 and 125.
86 In the same manner let the pupil
name F& in Exs. 124, 125, and 126, care-
fully distinguishing it from La.
80
87 In the same manner let the pupil
name R6 in Ex. 124, and "lii in Ex.
126, carefully distinguishing them from
Ek.
88 In the same manner let the pupil
name To in Ex. 126, and T6 in Ex. 125,
carefully distinguishing them from "Si
and 'Sc.
89 The teacher singing or causing to
In- .sung to figures (one to seven twice)
Ex. 127ft, let the pupil decide on what
hgure the distinguishing tone of the
tirst sharp key was heard. The same
with Ex. 128. p. 50.
90 In the same manner let the pupil
name the distinguishing tone of the
first flat key in Exs. 130, and 131.
'. 1 1 The teacher singing or causing to
bo sung to figures (eight to one line, six
to the next) Ex. 133, let the pupil name
by its figure first the distinguishing tone
of t rausition, and second that of return-
ing transition.
'.>-' The same with Ex. 136. Sevens
metre.
'.':; The same with Ex. 140. Common
tn"tre. or eight-sixes.
'.i ( The same with Ex. 143.
M Signal by manual signs and from
rnriuory, so that quick pupils could sing
m>m your signalling, Exs. 65, 99, and
the air of 97. p. 51 and preface.
96 Signal, as above, the first and
third parts together of Exs. 86, 86, and
UB.
97 Signal, as above, the first and
third parts of Exs. 124, 125, and 126.
; is Mark the best breathing places (to
suit the phrasing and the sense) for the
first and second verses of Ex. 133, second
line of the poetry, and Ex. 134, third
line of the poetry.
99 Add any marks of expression (p.
30) which occur to you in Exs. 140, 142,
143, 144, and 145.
100 Pitch without a tuning-fork the
keys B, B flat, E, E flat, and A flat.
The pupil has not satisfied this require-
ment, if when tested he is found to be
wrong so much as a step.
101 Sing to words any one of Exs. 133
to 145 as required, p. 25, question 46.
102 Enunciate, with freely moving
jaw, Ex. 146, tirst with the vowel aa,
next with the vowel oo. (p. 61.)
103 Enunciate Ex. 147, first with the
vowel 01, and then with the vowel oa.
104 Enunciate Ex. 148, first with the
Towel <', and then with the an.
105 Sing correctly on a single tone
may three words from each paragraph
FOTJKTH STEP.
of Ex. 149 which the teacher points to.
106 The same with Ex. 150.
107 The same with Ex. 151.
108 The same with Ex. 152.
109 Recite, in exact time, the ex-
amples in the second column, p. 63.
110 Taatai on a single tone, exactly
as marked, the rhythms of Exs. 123, and
125.
111 Taatai from memory any one
of the Exs. 157 to 161, the first pulse
being named.
112 Taatai the upper part of any
one of the Exs. 170 to 174.
113 Beat, as directed (p. 66) four
two-pulse measures at the rate of M.
60, pause for two measures, and con-
tinue the beating at the right moment for
two measures more. A silent metro-
nome not seen by the pupil is the best
test of this exercise.
114 The same, with four-pulse mea-
sure, M. 90.
115 The same, with three-pulse mea-
sure, M. 60.
116 The same, with six-pulse mea-
sure, M. 120.
117 Sing to koo with the thin register
Exs. 162 or 163 whichever the teacher
choosas. p. 66.
118 Sing to koo with the thick regis-
ter Exs. 164, 165, & 166, whichever the
teacher chooses.
119 Sing to koo Exs. 168, and 169,
whichever the teacher chooses, making
the registers of the same loudness and
quality.
120 Mark, for the Tenor singer, in
Ex. 133 first, the optional tones, and
next the places at which it is most ad-
visable to change register, as is done in
Exs. 170 to 173, and as suggested, p. 68
and question 58 above.
121 The same, with Exs. 135, 136,
137, 138, 143, and 145.
122 Without, at the time, referring
to pp. 68 and 69, turn to examples of
the part-pulse passing tone anticipa-
tion tone waving tone hanging tone
guiding tonehorizontal forestroke
oblique forestroke waving forestroke
unprepared forestroke.
123 Without, at the time, referring
to p. 69, turn to examples of the full
horizontal forestroke the oblique fore-
btroke and the unprepared forestroke.
124 Without, at the time referring
to p. 69, find examples of the following
cadences, F, R, D, rD weak pulse
8 weak pulse rD.
125 Parse any one of Exs. 97, 116,
134, 136, and 140, which the teacher nviy
select.
126 The same with Exs. 141 to 14:..
127 The same with Exs. 113, US'.
120, 174, 175.
128 Mark the best breathing j>l ;i<
in each part of Exs. 170 to KL', so a* I . .
sustain the voice, shew off the TIK
phrases, and not interfere with tho
sense of the words.
129 Add any marks of expression
(see p. 30) which occur to you to Exs.
170 to 174.
130 Sing to words any one of Exs.
170 to 174, as required, p. 25, question
46, which the teacher may select.
131 Follow the examiner's pointing
in a new voluntary, striking the di-
guishing tones both of the tirst sharp
and the first flat keys by leaps, and
singing to lac.
132 Point and sol-faa on the modu-
lator, from memory, any one of K\~.
133 to 144, chosen by the examiner.
133 Write, from memory, any other
of these twelve exercises chosen by the
examiner.
134 Laa, at first-sight, any exercise
not more difficult than these twelve.
135 Say aloud or write down, with-
out looking at modulator or book, tin-
bridge tones, to right and to left of each
scale tone, as directed, p. 51.
136 Tell which is Je and which is
ta, as directed, p. 25, question 56.
137 Tell what tone (/ or to) is ikan,
as directed, p. 25, question 57.
138 Taatai any rhythm of two or
three four-pulse measures, belonging to
this step, which the examiner shall Ian
to you. See p. 25, question 58.
139 Taatai in tune any rhythm of
two or three four-pulse measures, be-
longing to this step,which the examiner
shall sol-faa to you.
140 Sing to words, from memory,
any one of Exs. 133 to 145 chosen by
the examiner, singing cither part, but
taking the last verse of the word*.
141 Write correctly the three musi-
cal phrases which would be dictated as
follows : 1st, " TAATAI me doh "
" snfatefe me ray doh" "TAAfe t l
doh" "TAA ray." 2nd, "taf.-ifi-s--
doh ray me" "TAATAI me doh"
tafatefe me ray doh te\" "TA\
doh." 3rd, "taataitee doh me soli"
"Taa-aitee fah ray" "TAATAI
/ah me" "TAATAI ray doh" "TAA
te,."
81
FIFTH STEP.
To practise more advanced Chest Klang and tuning exercises. To read chords disguistd l>j notation. To
recoqnise chromatic chords. To perceive the power of cadence and emphasis in developing the mental effect of a
tone. To distinguish the various Modes of the Common Scale. To recngnise and produce the characteristic
cadences, and distinguishing tones of the Modern Minor. To recognise and produce Modulation and Transitional
Modulation. To recite correctly. To arrange words for Chanting. Perception of the various modes of
delivering tones, attack and release. To practise the degrees of Musical Force and Speed. To apply them to the
various requirements of Melodic and Harmonic Expression. Parsing Musical Passages. The small Sfffiiter.
The lesser Breaks. Perception of Registers. Scales of Registers. Classification of voices. Management of
optional tones. Agility of voice. Sixths, Eighths, and Ninths of a pulse. Rare divisions of Time.
Chest and Klang. For each key the singers
change parts. At M. 60 the lower voices will have
to economise their hreath for 24 seconds. Key Efr,
the upper voices slurring each Phrase of six tones to
the forward Italian laa, M. 80. Key F, koo-ing,
M. 72. Key E, laa-ing as above, M. 60- Key FJ,
Sol-faing, M. 92. In all these keys Basses may use
the thin register for d'. Tenors should not need to
do so. This exercise is not to be sung staccato. The
notes must not be detached, but on the other hand
they must not be slurred into one another. There
must be a clear stepping from note to note.
Ex. 176. KEYS E [?, F, E, and
t
Chest and Klang Exercises.
t
, :d 4 n t s
d 1 ,s t n :d,n<s
d' ,s 4 n ;d t m 4 s
d 1 ,s t n : d t n t s
d 1 :d ( f 4 l
d' 4 l,f :d t f t l
d'.l .f '
\ Skaa-
.
.
...
ia, Skaa -
-
:d
Skaa -
*
~~~ .
~~ '.
. .
i
- \
i'
:d,f 4 l
d',l 4 f :d t f ,1
d 1 :dsi,t|,r
f ,r,ti:si 4 t|,r
f ,r ,ti:si,t| 4 r
f r t,-!, t,
1 4! (t|.&||V|4
.
...
la, Skaa
...
...
-
;
;
:dg,
:
:
:
B.C.
sd 1
la.
id
la.
Examination of Voices. Since the proximate
classification of voices, at the third step, p. 29,
many voices will have changed. Cultivation will
have developed new capacities. Each voice should
therefore be examined afresh, and a report of its
presort physical condition drawn out, shewing its
easy Compass, and its Quality and Volume in each
register. The teacher will know, by its Best Region,
whether it should be called First or Second Soprano,
First or Second Contralto, First or Second Tenor,
or, First or Second Bass. In large classes, and in
ordinary evening classes, the teacher will not have
time to go through this important process, unless
he can command competent assistance. But, where-
* See p. 108, and the "Voice Report Book," Is.
St. Co. (New.)
ever it can be done, every pupil should, several
times in the Course, receive advice about the cha-
racter and management of his voice. He should
in fact be "put in charge" of his own voice, and
expected to present it in improved condition at the
next examination.*
TUNING EXERCISES, for the purpose described at
p. 14, can now be continued, and with the same
process except that there can be no changing of
parts. When the men's voices are practised, the
parts marked for first and second Soprano, should
be sung by first and second Tenors, and those
marked first and second Contralto, by first and
second Basses.
J-JFTH STEP.
Ex. 177. KEY GK S.S.C.C., or T.T.B.B.
I
d 1 :1
s
n
fe :s
s :fe
8
n
s :f
n
d
r :r
r :r
r
d
d :d
d -
d
d :t
1, :d
t,
di
n, :fi
d,
d
li :si
T, '.T(
S|
s
f .n
1 -
TS
S
r :n
r :r
d
n
r :d
f
d
r :d
d :t.
d
d
t, :d
d
8|
si :si
s, :s t .fi
n,
d,
TI :ri|
fi
n
t a :di
s ; :s.
d,
'He is-de spiscd and-re | jected of men - j| 'A iiian-of sorrows [ and ac
quaintcd with grief || . And-we hid-as-it were-our | fa ces from-him ||
. He-was-de spised 'and | we es teemed him not
. . Surely he-hath | borne our griefs || And | car ried our sor rows j|
Yet-we did-es | teem him stricken || Smitten of | God and ai flic ted
. 'But he- was wounded 'for | our trans gressions |j . He-was bruised for | our
in i qui ties || . 'The chastis ment-of our peace | was-up on him || And with
| his stripes we are healed
. . All we-like sheep 'have | gone a stray || . we-have turned every | one
to his own way || . And-the Lord hath | laid on him || The in | iqui ty
of us all
. . He-was-op pressed 'and he- was | af flic ted || Yet he | op' ned not his
th || . He-was brought as-a | lamb to-the slaughter ||
so he | op' ned not his mouth
mouth
fore-her shearers 'is dumb
Ex. 178. KKV G.
And -as-a sheep-be
D. t.
d :
n :
d :-
d
d :-
d :-
d, :-
And-I heard-a great voice out-of | heaven saying H 'Be hold-the Taberna cle-of
| God is with men
'And he-will dwell-with them-and they-shall | be his people || And God-him
self-shall be-with | them and be their God
St. Co. (New.)
d
r :f
n :
r s
1 .t :d'
d
Si
r * t
d :-
t,n
f :s
i
m
BI :s.
BI
id
d .r :n
r
d,
t a :BI
d,
: d
f, :n ( .fi
S;
f. G.
d^g
s :ta
1 -
T
f :n
r
r
s :n
f -
d
t, :d
d
"t,
d :d
d -
f,
f | .' 8|
s
d S|
HI :d|
fi -
f,
ri :d,
S:
Ex. 179180.
FIFTH STEP.
'And God-shall wipe-a
there-shall-be no-more death
. . Neither shall-there be
are passed a way
Whut-are these-which are-ar rayed
came they
. . These-are they-which came out-of j great tribu lation j
robes 'and made-them | white in-the blood of -the Lamb
. They-shall hunger-no more . neither | thirst any more
sun light-on them . | nor an y heat
For- the Lamb-which is- in-the midst-of-the throne 'shall
. And-shall lead-them unto | liv ing fountains of waters
|| : . 'And God 'shall | wipe a way || All | tears
88
'Ani
way-all tears | from their eyes ||
| nei ther sorrow nor cry ing
| any more pain || . For-the for mer | things
| white robes || And | whence
. And-have washed-their
- i| . Ncither-shall-the
feed them j|
from their eyes :||
.Disguised and Chromatic Chords. In Ex. 177
the chord on the 7th pulse may at first be read
7te Rc, but a little study of the modulator, and a
quiet listening to the progression of the chord,
show it to be 7 Sc. It is disguised by what is called
the improper notation of transition. (See pp. -52, 51).
In analysing disguised chords we write the true
name of the chord, and its resolution in parenthesis
thus : ( 7 Sc D.)
Chromatic Resolution. The same chord at the
12th pulse of Ex. 179 is not a disguised transition
chord, because it is resolved chromatically. (See
p. 52). Instead of moving to S, which would make
Sx. 179.
is :s
Lord, have
|n :n
Id 1 :d'
Lord, have
Id :d
KEY
d 1
mer
S
d 1
mer
n
C.
*
:ta.ta|t
:d
- cy up- on
:s .s |s
id'.d'jr 1
;~
- cy up -on
:n .n |f
:n
a real (S D), it moves to DC, & chord which, like
7 S and Db, has a peculiar power of deciding the
key. DC, while it is itself the very Tonic of the
key, puts also the very dominant tone of the key
in the most prominent position, the Bass. Thus
the chord 7fe R, threatened a transition only to show
how fast it clung to the original key. In the same
way we notice that ta D in the loth pulse of Ex. 178
is only 7 S disguised. It makes the transition which,
we express thus, ( 7 S D). But, the same chord in
Ex. 179 4th pulse, is not a disguised transition
chord, because it is resolved on 7 S, the deciding
chord of the original key.
W. G. WN.
r 1
:r' .r'ln 1 :n'
f
:r'
in 1
:r' d 1
us,
And incline our
hearts to
kf:cp
this
law.
s
:s ,s fs :s
1
:1
IS
:- .f
n
t
:t .t id 1 :d'
di
:d'
Id 1
:t
di
us,
And incline our
hearts to
keep
this
law.
S
:s .s id 1 :d'
f
:fe
IS
:s :
d
Ex. 180. Name all the chords in Exs. 177 to
179.
Effect of Accent, Cadence, and the Over-
fifth in developing the mental effect of tones. It
is easy to understand how the placing of any
particular tone under the strong accent of a
tune, will necessarily bring its proper mental effect
into notice. It is also easy to understand how
those resting points in a tune, called Cadences,
p. 48, must give emphasis and importance to the
tone on which they close. A close implies a
pause to follow, and even in Elocution, a pause
after a word gives it emohasis. In these llhythmic
St. Co. (New.)
closes there is also, very commonly, a descending
motion of the Melody which gives weight to the
tone it falls upon. The very name " Cadence,"
springs from this idea. But another source of
emphasis is more easily felt than explained. It is
the influence on any tone of its over-fifth, or what
is the same thing, of its under-fourth. Though
we cannot give reasons for the power of the over-
fifth in music, it may be interesting to observe that,
in the order of consonances, the Fifth is, next to
the Octave, the most perfect, and that the Fourth
is next to it in truth of accord ; that when a musi-
cal sound is resolved into its constituent parts, the
84
FIFTH STEP.
Fifth is the third part or "partial," the First
after the Octave of the Fundamental Tone, that
in Harmony, which is only Closer Melody, the
Fifth soon came to be called the Dominant on
account of its acknowledged power in deciding the
key, and that Consecutive Fifths in Harmony are
felt to be hard and disagreeable, probably because
they suggest the idea of two tones with Dominants
where one only is wanted. In the first line of a
well-known tune, " St. Bride's," we have 1 made
emphatic and predominant. 1st, by the cadence
upon it, and 2nd, by the motion to and from its
under-fourth :
:1 |n :l.,t|d :t |1 :- I -
By precisely the same means, in its next line, d is
made predominant :
:d' |s :d'.,r' | n' :r' | d> :- | II
In the third line no ono tone is made to pre-
dominate in the melody :
:n' |r" :d' 1 1 :1 |s :f | n ||
But in the last line, by the influence of its
over-fifth, by accent and by cadence, 1 again
predominates :
:n' |1 :r' | d' :t |1 :- I - II
Another example is afforded by the old tune.
" Martyrs." When written according to the oldest
copies, those which correspond with the present
singing of the tune in the Highlands of Scotland,
the tone r is made to predominate, in the first line
uy its twice rising to its over-fifth, and making a
cadence on it :
:r |f :r |1 :f In :r |1 ||
In the second line by its cadence on the under-
fourth :
:1 |d' :1 |t :r' |1 :- | - ||
In the third line by its cadence :
:1 |d' :s |1 :f In :r 11 ||
And in the last line, after three cadences on the
fifth of r, by a very decided cadence on itself
falling from its over-fifth :
:d' |t :s |t :1 |r :- |- ||
The Modes. This power of making any one
tone of the Scale so prominent as to stamp its own
character on the whole or any part of a tune, was
early understood among all nations, long before
what we now call harmony was known. In the
St. Co.
old Greek and Latin music there were as many
Modes of doing this as there are tones in the Scale.
In each mode special predominance was given to
some one tone. Even to the present day the great
eastern nations of Persia, India, and China, who
dislike our harmony, are exceedingly exact about
the correct intonation of the various modes of
melody. (See examples in the " Historical Speci-
mens " of my "Common Places of Music").
Much of the old music of Scotland, Ireland, AYal< >,
and England, cannot be written as still traditionally
sung, except by the use of these modes ; and when
(as in the case of " Martyrs " in Scotland,
" Bangor " in Wales, and other well-known
tunes) musical men, seeking to bo wiser than
Bach and Handel (who recognized the modes),
altered the melody to suit the supposed require-
ments of modern harmony, and printed these
altered melodies, the consequence was that thi-
people either ceased to use the tune or continued
to sing it differently from the printed copy.
The Modes are called by various names ; by the
Greek, the Latin, the Indian, and the Chinese
writers on music. It will be sufficient for us to cull
them by the name of the Scale-tone, whose mental
effect pervades them. Thus we have three modes
with a major-third above the principal tone or
Tonic three major modes those of Doh, Fait,
and So/i, and three minor modes, those of Lai,
Ray, and Ale. The mode of Tt, with its diminished
fifth, is but little used. Of the major modes, that
of Doh is almost exclusively used in modern times
and among the western nations. It was called, in
anciont times, the Secular Mode the mode of the
dance and the song rather than of Ecclesiastical
solemnity. No other mode suits modern harmony
so well. Of the minor modes, the Lah mode has
come to be the only ono used among the nations
of modern Europe, in connection with harmony. It
could not be adapted to harmony, however, with-
out alterations ; and these so much modified the
pure effect of the old mode, that we prefer calling
the modified form " the Modern Minor " instead
of " the Lah Mode." The history of the tune
" Dundee " or " Windsor " will illustrate this. In
its original form, and also as copied from car by
Dr. Mainzer, in his " Gfelic Psalm Tunes," it is u
Ray mode tune, and cleared from Gajlic flourishes,
reads thus :
:r |r:n |f :n |r:r |d ||f |l:s |f :n |f ! !
:f |l:s 'f :n |r:r |d || f |n:r |r:d |r !
FIFTH STEP.
85
d':t
n':r |d':t
i\ r l
n'
-d'
ri t
1
se
This melody could have been written so as to
begin on 1 instead of r, without altering the inter-
vals. Melody alone would not decide which mode
it is in. When harmony began to meddle with it, i
a " leading tone " to the r was wanted, and the j
;hree d's were changed in some printed copies into i
de which is a little step beneath r. In this form i
the tune appears in Este's " Whole Book of :
Psalms," A.D. 1592. But, so strong was the j
resistance of the popular ear to such an alteration |
of the melody that, forty years later the tune :
appears in John Knox's Psalter with the first and
second d's unaltered, and only the last made into I
de. Later still, harmonists found the Ray mode, for
other reasons (See " Construction Exercises," p. 90.)
unfavourable to their purpose, and wrote the tune
in the Lah mode, altering the three notes as before,
thus :
id'ln'ir'ld'it |1:1 |se||d'|t:l ll:se|l ||
But the alteration of the notes in the books did
not necessarily alter the tones of the people's
singing, and wherever books and instruments do
not dominate, there may still be heard the clear,
firm, solemn cadences of the old melodic mode,
| 1 : 1 | s or in its older form | r : r | d
and | 1 : s | 1 or | r : d | r. Thus,
in the Highlands of Scotland, this tune is still sung.
Even in England the modern version of the tune is
seldom used, except where there is an organ or
some other instrument to make the voices sing
according to book. It is felt by all that se intro-
duces a wierd unsettled effect, and greatly alters
the whole spirit of the tune. It creates also a
difficulty in striking the d' with which the next
line begins. The ear naturally regards
se as a new t, and can easily strike after it,
t or r', because they have something to
correspond with them in the supposed
new key ; but is puzzled to find d'. (See
the diagram at the side). So, in the
history of this tune, a curious thing
happened. When musicians began to
alter its melody, the people in the
churches of Scotland, without presuming to resist
the demands of harmony, or to contend against a
learned Precentor or a Choir, fell instinctively into
the expedient of striking some other tone of the
St. Co. (New.)
same chord, which was easier than the uncertain se,
and from which they could more easily rise to
d 1 . A new tune called " Coleshill " not interfer-
ing with the harmonies of Dundee, was the result.
It reads thus :
:s |
' Id 1 :s
|n ||d>
|n
Id 1
|s
n' :r'
|r'.d':t
:s
The Doric or Kay Mode. Before the introduction
of modern harmony, this mode was the principal
one used for worship. Throwing its emphasis on
the earnest " prayer-tone " r, it was strong and
hopeful as well as sad. The softer Lah mode can-
not take its place. Much less can the modern minor
with its sense of restless unhappiness. In Wales,
both North and South, this mode is much preferred
to the Lah mode, and popular tunes, printed in
one mode, are sung in the other. The difference
is easily observed, because (in addition
to the question of the artifical leading
tone) the expressive cadence d' 1 1 in the
Ray mode, becomes s f m in the Lah mode.
It is like transition to the first-flat key.
(See diagram). Let the pupils notice and
describe the changes of melody, which
would be necessary to put the tune
" Martyrs " above into the Lah mode.
Let them do the same with the following
old Ray mode tunes singing them in
both modes. The first is the burden or
chorus of an ancient Christmas Carol
" Nowell, nowell," which Mr. Chappell
ascribes to A.D. 1460 :
:r |r :- :f |ri :- :d |n :-.r:d.ti
111 :- :li Id :- :d |r :- :r In :- :n
1
r
s
f
n
d
t
1
r
s
d
t
f
n
1
r
|d
:f :n |r :- :d |r :-
The next " Bangor," is a tune of the ancient
British Church, as it may now be heard in the
churches of Wales and Scotland whenever sung
without book or instrument :
:n
id 1 .t 11 :s
FIFTH STEP.
:1 |r ! :1 .s |f :n jr ||
These studies are not mere matters of curiosity, or
of history, for by far the largest part of the popu-
lation of the world, at the present moment, makes
use of these various modes in singing. Mission-
aries, above all others, should study this subject
well.
The Modern Minor is built on the ancient Lah
mode with adaptations to modern harmony. The
relation of tones to one another is more strongly
felt when they are sounded together in harmony
than when they are merely heard successively in
melody. Harmony, therefore, introduces new
principles. The* chief principle of modern har-
mony is that which chooses a particular chord,
called the Tonic Chord, makes it preoccupy the ear,
and then makes the chord on its over-fifth, its
dominant, and that on its under-fifth, its sub-
dominant, minister to it. The meanings and uses
of these terms are given on pp. 20, 27, and 46, and
at p. 48, this principle of " Chord Relation " is
illustrated by the cadences. Those who not only
see, but listen to these cadences, will understand
what is meant. In the common, bright, clear Doh
mode the chord relationship was satisfactory and
pleasant. Two strong major chords, S and F, two-
fifths apart, yielded and ascribed superiority to the
chord D, which stood equidistant between them.
The modern minor is an attempt to apply the same
chord relation to the Lah mode. But in no other
mode, except that of Doh, are the Tonic, Domi-
nant, and Sub-dominant all major chords, and the
ear naturally dislikes two unsonorous minor chords
(See p. 46,) together, especially in a cadence.
8E. In the Lah mode, L the Tonic, M the
Dominant, and R the Sub-dominant are
all minor. The first harmonists shar-
86 pened the third of the Tonic L, making
(s) the chord 1 de m, and this is still done
sometimes in slow music, but the most
f satisfactory artificial arrangement is that
PI which sharpens the third of the Domi-
nant M, making m se t, whenever it is
wanted as a dominant. Occasionally,
however, s is still used, especially IE
descending stcpwise passages. Se is
related to 1 as t is to d'.
Bay. The use of se, instead of s, makes a great
unpleasant gap in stepwise passages,
between se and f. Therefore, in such
1
se
s
(ba)
f
n
I passages the composer often introduces
another tone which he uses in place of f.
It is related to se as 1 is related to t.
We call it bay and write it ba. : 1 | se : ba
sounds much like id 1 | t : 1 and
: m | ba : se | 1 sounds like : s I 1 : t d .
There are, therefore, two " alternative
tones " in the modern minor, one intro-
duced for harmony's sake, the other for
the sake of melody. Jiay, however, is
not so often substituted for f as se is
for s.
1
f-
n s
r f
n
d
t r
1
St. Co. (New).
d
t
1
Difficulties of the Singer. These arise from
the modern minor, with its altered notes,
being so like, and yet so unlike, the
major of the same Tonic. See diagram
at the side. The ear is drawn away
from the key and confused. To prevent
this it is best to train the singer to imi-
tate the relative major, not the Tome
major, and so to keep the Dob in mind.
Thus the teacher patterns on the modu-
lator | m 1 : d 1 | t : d> || and immediately
follows it by I di : 1 | se : 1 ||. After
a time he will give any major phrase
and ask for the corresponding minor.
The difficulty, already noticed, of strik-
ing d 1 after se is increased by the intro-
duction of ba, because ba strengthens
the feeling of a change of key. This
feeling also makes it difficult to strike f,
(especially by lean) as is seen by the
diagram at the side, and felt by all
singers. It will be easilv seen from the
diagram, and has often been felt by the
teacher, that in singing such a phrase as
ba : se | 1 :t | dl : the pupils will
sing do' instead of dl, and even in singing such a
passage as this : m | ba : se | 1 : | m :
the pupils, instead of falling upon the same note
with which they began, sometimes sing de as
though it were the m of the major key drawn at
the side. Such exercises as the following should
be constantly practised from the Modulator, first
xnl-faa\ng and then laaing, always singing its
relative major before each minor phrase.
Id 1 :n' |r' :t Id 1 :- || 1 :d' |t :se|l :- ||
ba 1
f
n s
r f
n
this : m
Ex. 1816. FIFTH STEP. 87
D.O.
Ex.183. KEY B ? . L is O. Compare Ex. 123.
Id 1 :t |1 :t |d ! :- || 1 :se|ba:se|l :- ||
PI
d :f
n -
n
d :f
t, :r
d -
D.C.
d
1, :r
d -
se
li :1|
se,:t
li -
In 1 :d' |s :1 t id'Hd 1 :! jn :ba|se:l ||
1,
L :r.
1, -
pii
1 :r
1. -
D.C.
\rt :d' |t :1 |s :- ||d' :1 |se :ba |n :- ||
Ex. 184. KEY C. L is A. Compare Ex. 124.
^^ ^^
D.C.
d
r':t
se -
1
f :r'
d':t
1 -
;8 :1 it :s |n' :- || n :ba |se :n |d' :- ||
1
f :f
n -
n
f :1
1 :se
1 -
The teacher patterns the relative major.
(
1
r :r
n -
d
r :f
PI :n
1 -
|n :se |t :n |d' :1 |se :1 |n :se |1 :- ||
Ex. 185. KEY C. L is A. Compare Ex. 125.
|d' :t |1 :se|l :ba|se:l |n :se|l :- ||
d'i
di:r'
P|| -
pi 1
r 1 :d'.t
d':t
1 -
But few composers understand about this. They
1
1 :1
se -
1
se:l
1 :se
1 -
therefore sometimes introduce tones which give
1
1 :f
m -
d
ti '1
n .'n
1 -
great trouble to the singer, without adding, in the
i
least degree to the beauty of the music. \Vhen
Ex. 186. KEY C. L is A. Compare Ex. 126.
composers write for a hired theatre- chorus (who
d*i
_i . _i
di
"i
i j i
dare not say that anything is difficult much less
i
n 1 :r'
1 -
r 1
r 1 .d 1
t :t
-
hint that it is unnatural), we cannot wonder at
j
1
d 1 :t
i _
1
se :1
1 :se
1 _
their mistake. Even Handel has sometimes thus
/
A
erred, and his notes to the phrase " Till thy people
pass over, O Lord," are selaom correctly sung even
r
1
1 :n
f -
f
n :1
r ;n
1 -
by the Handel Festival chorus at the Crystal
Chord Relation in the modern minor. L is the
Palace. Tonic Sol-faists, after this warning,
Tonic of the minor mode as D is of the major.
will know the difficulty and master it. Modern
Therefore M, or with its commonly-sharpened third
composers for the voice ought to know the diffi-
86 M, is the Dominant, and R the Sub-dominant.
culty and, except when it adds beauty to the music,
avoid it.
What is said of the relations and habits of D, S,
and F (pp. 21, 26, 27), applies almost equally to Z,
The Exercises. As the modern minor is so much
the creature of harmony, it should be first studied
in such exercises as the following six. They are
simply previous Tuning Exercises changed into the
modern minor :
86 M, and jR in the minor. What is said of 7 S
(p. 46), applies to < se M, and the habits of 7 R (p. 47),
are imitated, as far as possible, by 7 T, and so on.
For exacter particulars See " Construction Exer-
cises " p. 90 to 101. The chord M (p. 46) is caUed
the " Mediant " in the Major, and D is called
Ex. 3 81. KEY E. Z is C #. Compare Ex. 85.
1
1 :1
se -
se
1 :1
1 :se
1 :-
d
n :d
PI -
PI
PI :d
d :t,
d :-
li
d :1,
n -
PI
d :1,
pii ipi|
li:-
Ex.
a
182.
d :ti
KEY B
d -
>. z
<f
is G. C
t, :1,
ompare
t :t|
Ex. 86.
d :-
1|
ll :sei
1, -
1,
sei:l|
1, :se.
li:-
1,
li : ri|
1. -
1,
PI, :di
PI, :m
1, -
Kt. Co. fNtw).
" Mediant " in the Minor. " Minor D " (that is D
in the minor mode) is as little used as Major M.
R is called the " Super-tonic " in the Major, and
T in the Minor. "Minor T" and "Minor 7 T,"
are used like R and 7 R (pp. 46, 47). L is called the
" Sub-mediant " in the Major, and both F and
BA are Sub-mediants in the Minor. T is the
chord of the " Leading Tone " in the Major, and
SE in the Minor. No chord on the flat-seventh
of the Minor (S) is used in distinctively Minor
passages. It will be noticed that we write the
chord-names for the minor mode in Italic Capitals
to distinguish them from the same chords when
FIFTH STEP.
influenced by the habits of the major mode ; for
the same purpose of distinction I'M speaking we say
" Minor Z," " Minor T," &c. The student should
compare the above six chants in every respect
with their major-prototypes. To make the com-
parison one of ear as well as eye, the two versions
should be laad softly, the student looking at the
major while tho minor is sung, and at the minor
while the major is sung.
Ex.187. Name all the chords in Exs. 181 to 186.
Modulation originally meant singing in mode.
Wo use it for a change of mode, as from tho D
mode to the Z mode from the major to the minor,
or from minor to major. Major tunes frequently
introduce touching cadences in their Lah mode
or " Relative Minor." (See Exs. 195, Meas.
23. 212, Meas. 14). And, it is almost a necessity
for a minor tune, that some large portion of it
should bo brightened by modulation to the relative
major. (See Exs. 189, 5th Mcas., 190, llth
Meas., 191, 5th Meas., 192, 4th Meas., 193, 10th
Meas). And even in 188 and 194 there are short
phrases of major, with f and s to distinguish it.
Transitional Modulation. When the music
changes both its key and its mode, at
the same time, some beautiful effects are
introduced. The commonest change of
this kind is that from tho major mode to
the relative minor of its first flat key.
This originates a new " distinguishing
tone " which we call (on the "improper
method of notation) de. The bay is
often used, disguised as t. The phrase
: t, : de | r is really : 1 | se : ba : se | 1.
Ex. 234, Meas. 6). This "transitional modu-
lation" is more frequently used in Passing
than in Cadence modulation. (See Exs.
233, 245, and 236.) Additional Exercises,
p. 33, 3rd score; p. 47, 4th scdre; p.
49, 1st score ; p. 52, 1st score ; p. 54, 2nd,
3rd, and 5th scores ; p. 80, 4th score ;
p. 88, 2nd score, and p. 60, 1st score.
Another, though not a frequent Tran-
sitional Modulation, is that from the
1 j-
se de
r | de
s d
t
f
n 1
re-se
r
-ba
d
major to the relative minor of the first sharp ]; y.
This originates another distinguishing tone which
we call re. The bah, in this case, is rarely used,
but it would be called in passing modulation de.
The transitional modulation of the first remove
minor to major is more common. Cases may be
found moving to the first flat key in Add. Exs. p.
60, 3rd score ; p. 69, 1st score ; p. 88. 4th score,
and to the first sharp key in Add. Exs. p. 33, 3rd
score; p. 59, 1st score; p. 60,4th score; p. 79, 3rd
score ; p. 87, end of second score ; p. 96, 1st score.
Accidentals. Properly speaking, nothing i
accidental in music, but this word is frequently
used to indicate any tones which arc out of the com-
mon scale. It will be the student's business to
judge whether these tones indicate transition from
the key, or lead to a chromatic effect in the key,
or are merely brief ornamental passing or waving
tones. In the Tonic Sol-fa notation we indicate a
sharpened note by altering its vowel into ee, thus d, dee,
(written to save space de) and a flattened note by
altering its vowel into au as in caught, thus m, man,
1, lau, s, sau, and r, rau. To save space these are
written ma, la, sa, ra. Sec Ex. 247.
Rare Accidentals. In uncommon cases like
those in Ex. 247, the sharp of 1 is introduced. It
is called le. It seldom has any very traceable key-
relationship, but is introduced as an accompanying
third to de. In the same way, but in exceedingly
rare cases, bay is sharpened generally to accom-
pany le. It is called be. In even rarer cases still,
the sharps of m and t are required. They could
not be properly written respectively f and d,
because that would make them slightly too high.
The sharp of any tone bears a fixed relation that
of a little step to the tone above. Its relation to
tho tone from which it is named, varies slightly
according as it is taken from a greater or a smaller
step of the scale ; but it is always less than a little
step. The sharp of m may be called my, that of
t may be called ty. If in similar out-of-the-way
cases, the flats of d and f were required, the flat of
d would be called du. and that of f would bo
called fu. See " Staff Notation," p. 31.
FAREWELL, MY OWN NATIVE LAND.
Ex.188. KEY B7. LisO. Rather slow. Am " The Shepherd's Daughter."
l.Fure -
2 Fare -
1, :- .1, |ti .d ;r .t,
my own dear
.li |se.l| :ti .se
to all my
well
well
kin
St. %. (New.)
:- .r |d
tive land,
:- -t, |1,
dred dear,
:n
Dear
:d
My
r
friends
t, :-
hild -
.d it, .d :r .ti
a, long fare -
.1) |S6|.1| :t| .86
hood's home,fare -
FIFTH STEP.
d : | :n
well, Each
1, : | :n.
r :- .d it, :r
lov - ing heart and
fi :- ,fei|S| :ti
d :- .t, |1| :d
kind - ly hand, I
lj :- .se ; jl; :pii
well, With
throb - bing heart and
fall - ing tear, I
t, :-.li |1: :se.
1, :- 1- :-
Ciiours.
1, :- |d :-
t :se ; |L
bid you now fare -
TI :- .r, |pi| :ii| .FI
well.
d, :- i- :-
well.
Fare - well,
f, :- in! :-
Fare - well,
fare yo well.
PI :ri|.ri |di
bid you all . fare -
fare ye well.
OUR LIFE IS EVER.
NOTE. Sing it firmly, with the " pressure form " more or less marked on every second pulse of the measure
Ex. 189. KEY C. L is A. M. 66. Graun.
: : :n
Our
:n 1 : :t
j .
life
d 1 :-
t d 1 : :r! n' : :' n 1
is ev - er on the wi
r' n 1 ::'' n 1 : :r d 1
ng, And (
f
. b 1
Our life is
ev
er on the wing, And de,
ith is
d 1 :- :t 1 :- :1 '
death ia ev - er nig]
ev - er, ev - cr
: :f n 1 : :n r 1 :-.d':r l .m l d
1 :-.t:d'.r
i ; The mo - ment when our 1
. r | . r i f i . .;ii f . .* i
1' .1 U . .U U . i* J
nigh ; The mo - ment when our 1
iveb be - r
:- :l
ives be - ,
t '. :PI ! d'.n'if ,n':r'.d' r
.d':r : :d> :d' t .,t:t :t
d' :
> die.
s 1 :-
> die.
gin, We all
se : :se 1 :-
gin, We all
be - g
- :1 f
1"n to die, We all begin t<
.1 :t.l : se.ba se tn :1 - .,l:se is
be - g
in to die, We all begin tc
SUMMER IS GONE.
Ex. 190. KEY B7. Z
li :- Hi :-.t,
is G. Slow.
d :
Am, "Fort
| :t| 1 :n |r :d t, :
une, my foe."
1. Sum - mer is
2. Sum - mer is
S.S.C. or T.T.B.
gone,
gone,
d :-
And sad - ly sighs the breeze,
And here I sad - ly sigh,
1 : d :ti | :li sei :
:i|
1, :- i- :-.t
d :-
1 : li :sei | :li n, :
li :- 1- :-.t,
d :
1 : n, : |- :- :-
Hm,
Hm,
St. Co. (New.)
90
.firm STEP.
1. :-
Hi
:- t,
d
Moan
All,
ing
all
it
a-
goes
lone,
I :-
I
:-.ti
d
d
d
li : 1 :-.ti
1, :- 1- :-.t,
Hm,
n :
in ;- .n
n : |
Sweet
Sigh
flow'rs are
on, ye
dead,
winds;
t, :d
ir :d
t, :- 1
sei : li
It, :1,
sei : |
n, :
1 :
: 1
Hm,
r :
is :-.f
n : |
Sigh
Those
on, ye
dear, dear
winds,
friends,
1" * ^^
1 :
d :- 1
t, :-
1 :
d :- |
si :- |- :-
1, :- 1
Hm,
:t.
1, :n
ir :d
ti :
Through
Not
bare and
one dear
l<-af - less
friend is
trees,
nigh;
!
d :t,
I- :li
se, :
HI :
li :sei | :1|
HI :
1 :
Hm,
:n
n :s
|f :n
r :
The
Though
song -birds
spring a -
all have
gain will
flown,
come,
:
d :n
ir :d
1 ;
si :
1 - :
:
d, :-
It, :d,
:
Hm,
:r.d
t, :1,
sum - mer
me can -
111 :sei
days are
not re -
1, :
gone,
turn.
For
To
se :1
in, :
d, :
n ( : i :r.
r, :d, | :t
1. :
Hm,
I
I '
i- :
I :
THE CHBISTIAN'S PABTINQ WORDS.
Words by Jt
Ex. 101.
Ml ^
U.Let me
ir.We have
(Id :d
|d' :d
Up - ward
|n :n
itnes Montgomery.
KEY C. L is A. M. 50.
1 .d':t .1 jse :se se.t :1 .se|l :1
Russian Air
D.a
1 .d':t .1 m 1 :se 1 :
go, the day is
spent a night of
d .n :r .d |t, :ti
break-ing, Dear com -
wak ing, In the
ti.r :d .ti |d :d
pan - ions, let me
wil - der - ness be -
d .n :r .d |d :t|
go;
low.
1 :
day.
Q *
d'.n'sr'.d'it :t
t.r'zd'.'t |1 :1
1 .a :t .1 in 1 :se
now I bend my
n .s :f .n |r :r
way. Part we
r .f :n .r |d :d
here at break of
d .n:r .d |d :t.
St. Co. (New).
FIFTH STEP.
91
2 Let me go I may not tarry,
Wrestling thus with doubts and fears ;
Angels wait my soui to carry
Where my risen Lord appears ;
Friends and kindred, weep not so,
If ye love me, let me go.
3 Heaven's broad day hath o'er me broken
Far beyond earth's span of sky ;
Am I dead P Nay, by this token
Know that I have ceased to die.
Would you solve the mystery ?
Come up hither, come and see.
Ex. 192.
1. :-
KEY G. L is E.
: It, :-
1. Drive
li :-
dull
2. Come,
come,
DRIVE DULL CARE AWAY.
AIR. " We be soldiers three."
r :- :d |t| :- : 1| :-.t t :d
care a - way, Let us be
t| :- :1| |sei :- : 1| :-.sei:l|
join our song, Mer - ri - ly
hap
|se, :-
v chant
:n
py>
:n,
it
d :-.t|! li |ti :
blithe
li :-.s
and gay ;
: fe, | S| :
loud
and long ;
s :-.f : n |r :-.d :r
Ban - ish your sad - ness and
n :-.r : d is, :-.l|:t|
Ban - ish your sad - ness, bid
n :-.r:d
join in our
d :-.ti:l,
sor - row be-
jt| :- :n r :- .n :d |t; :-.l| :t|
lay, And let us all sing and be
I sei :- :ni t| :- .d :li |sei .-.baiisei
gone, And let us all sing and be
d :1,
mer - ry.
li :i;
mer - ry.
i
Words by
THE DESTRUCTION OF SENNACHERIB.
Music by
A. L. C.
Ex. 1
1. The As
2.Likethe
:li .,se,
3. For the
3. KEY F. L is D.
d :d :r
-sy - rian came
leaves of the
An - gel of
n
n :l|.,t|
d :d
wolf on
sum - mer
wings on
down
for -
d :
like a
est when
d : 1| .,S6|
Death
spread his
1 n :n :
ba
se :se
:ba
n :n :
co - horts
host with
d :d :
were
their
d
gleam - ing
ban - ners
t, :t,
in
at
pur - pie
sun - set
S6| :S6|
breath' din
the
face of
the
foe as
St. Co. (New)
.
:r
the
the
ba
and
were
ll
he
n
fold
green,
d
blast,
se :
gold;
seen :
t, :
pass'd;
- :d
And his,
That
And"
And the
lake the
:d .,r
And the
92
FIFTH STEP.
d' :t :1
eheen of their
leaves of the
n : s : f
eyes of the
rit.
n :n :r
blue wave rolls
host on the
d :d :t,
heart but once
s
Z
n
si
:f :n
)ears was like
>r - est when
:r :d
eep - ers waxed
dim.
d :d :d
1 :s :f
stars on the
Au - tumn hath
d :t, :1,
dead - ly and
,,r n :n :n
n
sea,
blown
861
chill,
L
nd
C|
TOW
P
:- :d .,r
When the
, That
:- :li -,t,
And their
li :-
lee.
strown.
ll 1-
still;
night - ly on
mor - row lay
1, :li :li ,1:
deep Ga - 1
with - er'd a
se : sei : s
ev - er g
hcav - ed, And for
THE JEWISH CAPTIVES.
Ex. 194. KEY A. L is f*. Slow.
(d :-
\ l.Far,
. 2.Far,
1, :-
\ 3-Far,
|n :- .r d :-
far from home,
far from home,
| S6| :- .86| 1| :-
far from home,
:
li :
:f
n :- .r |d
:r n :
home,
home,
home,
Where
Our
Can
Jiuby - Ion's wa
harps with un
n, :n |1|
cap - tives tune
- ters roll,
- tun'd string
the string ?
V down,
hang,
se, :
V sung P
I- : .n
And
While
1 : ,n,
Je
n : |n
bit - ter
cap - tors
r :d |ti
: n :
tears,
scoff,
:li sei :
-m - BH
lem!
f :-
| :n
d :r |n
:r d :-
sighs,
mirth,
se, :
Ex -
And
I :se.
press the an - guish of
bid us songs of Zi
1, :t, |d :t, 1, :-
joy!
ft. Co.
A -
(Ntw).
way from thcc,
how can
A. L
. C.
:
Id
:-
t, \
Far,
far
from/
Far,
far
from
1, :-
in.
:-
*
Far,
far
from
1
:n,
ba, :
S6;
lli.ti
d.d)
In
si -
lence
sit
wef
On
wav -
ing
wil -
lows' 1
1
:rii
ba, :
se ;
U,.t,
:d .1 A
Shall
Zi -
on's
songs
be'
I
: .n
f
If
:
And
hoa
.
vv
And
ask
for
1
: ,n.
r
d
It,
:L
My
chief
-
est
It,
:
1,
1
j
our
soul.
on
sing.
|
:se.
1|
1
:
we
sing:
Ex, 1956.
FIFTH STEP.
93
Ex. 195. KI
PC
:Y G.
)BGIVE TH
INE ENEMY
D. t.
"d 1 :-
t :s
Fttcht.
1 :t
d :
For
ti :BJ
give thine
en - e
For
df :1
my, thine
give thine
1 .s :n .s
en - e
f :n .r
en-e
my, thine
/ d 1 :s'
- .fi :n'
t -
- .r' :d' .t
1 .t
en
:- .PI
:t
e
r *
e
d :-
my,
d .r :m
\ my, thine
) n :- .r
en
d :-
e - my,
1, :1 .s
thine
f
[ en
e - -
my, thine
en - -
my,
/ :
:f
n :d
r :n
f :1
:s .f
j - .f : s .d
( Forgive thine
For -
r :- .r
en - e -
give thine
my,
en-e -
:d
For -
my, tliine
1,' :fi
give thine
en-e -
1 :t,
en - e
n :d'
my, thine
d :t, .1,
:t .1
en- e -
f :
thine
se :
1 .n
:1
:se
e -
t, :- .t,
en - e-
1 :-
my,
my,
For
my,
:n .r
en-e -
thine en
d :- .r,d
my,
my,
thine
/ d 1 :-
For
n :d
give thine
t :s
give thine
r :PI
en - e -
1
en
f
my,
:t
- e -
:n .r
d 1
my,
P1.1,
en-e -
:t .1
t .PI :n
en-e - my,
'. S
-.r 1 :1 .t
thine ene -
.
d 1 :
thine
my,
- .n :d .n
thine ene -
thine
my,
f. G.
d's.f :r .f
n
:d'
-.t :1
- .s
f
thine,
- .d
e -
:n
thine
t|.S| :d
my, thine en
r' :- .r
en - e -
e
d :- ,
my.
thine en - e -
my, thine
my, For
d . tj :1| .PI
give
f :- .PI
my, thine
r
en
en - e -
Chanting. The pupil will now learn the recita-
tions of Exs. 177 and 178, paying special attention
to the Consonants as taught at the last Step.
Ex. 196. Sing to words Exs. 177178, having
first learnt the music by heart.
Arranging Recitations. In connection with the
study of Chanting, it will he well for the Teacher
to give out a portion of a Psalm or some other
St. Co. (New).
passage of Scripture ; to he fully marked for Chant-
ing, with Cadence bars, Pulse divisions, Accent
marks, and Type-expression. (See pp. 35, 36, 59).
The comparison of these various plans, before th<;
class at its next meeting, will prove both a fine
exercise of taste, and an interesting study of the
sense and meaning of the words. Besides, the
Tonic Sol-faist should give himself the trouble of
mastering all these principles of recitation practi-
FIFTH STEP.
cally, for he may some day have the duty and
happiness of leading a congregation, and then,
whether ho uses a book marked for recitation like
our exercises or not, he will require a practical
mastery of our principles, unless he is content with
tasteless, sinful " gabbling" instead of chanting.
In commencing such exercises, the student will
first cut off the cadences. Ho will naturally try
to arrange these so that the musical accent may
correspond with the sense of the words. This
cannot always be done. The attempt to do it, in
difficult cases, often leads the marker to put too
many syllables into the pulses of the cadence so,
that when it is sung quickly, as cadences should be
sung, an irreverent dancing effect is produced, and
when the cadence is sung slowly, it naturally makes
the recitation also both heavy and jerky. The
practice of putting several syllables into the pulses
of a cadence, compels the reciter to put many sylla-
bles into the pulses of his recitation. *It is certainly
better in the cadence as far as sense will allow
to keep only one syllable for a pulse. Compare :
": . Which | ttilleth the : noise of the \ teas
i . the : noise of their || waves : and the
tumult : of the | people " with " : . Which
ttilleth the : noise of the \ teas : . the
noise : of their \ waves : and the \\
tu : mult | of : the \ people." The last
can be sung quickly ; the first must be slow and
heavy, and still jerky.
In preparing the Recitation, let the student first
make sure of its beginning and ending. For he
must remember that the chant is a mixture of
Speech and Song. The Recitation is Speech ; the
Cadence is Song. This necessitates some compro-
mise, at least some " management " at the points
(before and after the cadence) whore Speech and
Song meet. As an accent comes at the beginning
of every cadence, there must always be before it
either an unaccented pulse, or a pause of a pulse
supposed to bo unaccented. As we cannot well hare
two strong pulses together, it is unnatural to make
any other than a woak pulse between the reciting
tone and the cadence. Thus, if in the follow-
ing sentence we feel the necessity of emphasising
both " martyrs " and " praise," we should not
attempt to write " : . The \ noble : army
of | martyrs \ praise " but " : . the \ noble
: (may of | martyrs : \ praise, &c. As every
cadence clows with a soft pulse the mind naturally
expects the strong pulse to follow, and if the words
will not bear this, you must give a pause to let the
accent pass by. Thus " | Thee : \ : . The
| holy : Church : throughout \ all " or
better thus " : . The : holy \ Church"
Another hint is this. It is important that the
student should use a metronome for his recitation,
else he will find himself continually varying his
rate of movement, and that cannot be done by a
great congregation. It is very unnatural to hurry
the pulses of the reciting tone and slacken those of
the cadence. They should all move at the same
rapid rate. If you chant slowly it is impossible to
make the pauses indicated by the dots.
In further studying the reciting tone, the careful
marker will observe that the two-pulse rhythm is
the most common and easy, but the best speech
contains a well-arranged variety. As a general
rule, the rhythms in which a passage is best said
are those in which, for chanting, it should be sung.
Chanting, however, is not private talk ; it is public
speaking. Public speaking differs from private
talking in this that the pulien in public speaking
are necessarily more regular, in order that the
voice may carry further. The student, moreover,
must not despair if he finds it, in some cases, ex-
tremely difficult to reconcile sense and rhythm.
Prose is often written more for the reader than the
speaker. The prose style of a Bolingbroke, a
Brougham, a Gladstone, or a Bright, is quite
different from that of a student or a learned trans-
lator, who seldom speaks further than across a
table, and it is altogether more rhythmical. It
was not all the translators of the Bible who studied
the rhythmical structure of their sentences. While
the student is thus recommended to exercise his
judgment and taste in deciding which plan best
expresses the sentiments of the words and best
draws out the voice of the whole people, he should
be always ready to unite cheerfully in the " use "
which he finds established in the church in which
he worships.
The following hints are for the Precentor. First,
avoid chants with high reciting-tones out of the
reach of ordinary voices. Long recitations on a high
tone are screaming impossibilities to a congrega-
tion. Second, avoid chants with wide intervals in
the cadence. Such cadences are not like the natural
cadences of an excited public speaker. They are
almost necessarily slow and heavy when a congre-
gation sings them, and " slow " cadence makes
jerky recitation.
Expression. At page 30, a brief and superficial
reference to this subject is made. The pupil being
St. Co. (New). * Because the pulses of recitation and cadence should move at the name rate.
FIFTH STEP.
95
now well grounded in the doctrine and practice of
time and tune, is free to give full attention to
expression. The subject is one of great intellectual
and artistic interest, and both voice and mind
should go through a thorough training in expres-
sion. The chief elements of expression are speed
and force. How speed of movement influences the
emotional effect of tones has been shown p. 28.
How the various Degrees of Force can influence
expression is never known until the pupil has really
learnt to control his own singing in this respect.
It is one of the simplest, easiest, most effective, and
most neglected of all the contrivances of music.
Ordinary singers employ either an uniform weak
drawl, or an equally uniform shout. They have
never cultivated a medium force of voice, and they
can never give that light and shade of sound,
which, like the varied distances and lights in a
painting, throw such a charm over the musical
picture. The first thing to be secured the foun-
dation of all the rest is a good delivery of each
tone, both for the sake of quality and clearness of
impulse.
Delivery of the Voice. In singing, the student
must remember that he is not singing to the top of
his head or the bottom of his throat, or to the
inside of his mouth, but to an audience in front of
him. He will, therefore, direct his breath out-
wards, in a steady, well-regulated stream, keeping
his teeth always wide apart even when he has to
round his lips. By this means he will avoid shrill
bird- warbling, bass growling, and vague humming,
and will produce a rich, round tone, without discor-
dr.it upper "partials."
Attack and Eelease. Closely connected with a
good quality of sound, and essential to its pro-
duction is that clear striking of every tone that
" good attack," as M. Fetis calls it that " shock of
the glottis," as Garcia describes it that firm, but
light and elastic " touch " as Mdme. Seiler speaks
of it which should become a habit of the singer.
Every tone should have a sharp confident opening
as well as a distinct close. It should be like a newly
cut coin. " Any one," says Dr. Lowell Mason, " who
gives attention to the production of tones by a good
instrumentalist, or to the manner in which they
strike the ear when the ' attack ' is made upon
them (or when they are first brought forth by a
skilful player), cannot fail to observe their great
superiority in promptness and energy of delivery,
to those usually heard in singing. Indeed, choir or
chorus singing can hardly be heard without reveal-
St. Co. (New).
ing the fact that whatever proficiency may have
been made in reading music, so far as it relates to
time and tune, the proper use of the vocal organs
in the enunciation or* emission of tone has been
sadly neglected." Any one who, in the Crystal
Palace or elsewhere, has heard some great artist
singing with the accompaniment of a vast chorus,
must have been filled with wonder to notice how
easily the artist's voice was heard above the
thousands of uncultivated voices. It was greatly
because the artist had formed the habit of good
attack, and made his voice reach the ear more
quickly and more truly. The increasing habit in
singing classes (when time, tune, and words are
learnt) of studying delivery and expression, with
closed books, under the guidance of the leader and
his baton, have done much in England to remove
this defect, of bad attack.
Mr. F. Kingsbury, in his sensible pamphlet on
the voice says : Pass the breath in a small stream
letting it commence suddenly, as if produced by the
sudden opening of a valve, but without any further
effort. Unnatural forcing of the breath must be
avoided, while care is taken not to let it ooze out.
By this prompt attack, after a few experiments
the singer will positively feel the back of the throat
and mouth simultaneously filled, as it were, with ?
solid body. The muscular power of these parts is>
felt to grasp or lay hold of the sound. This sensa-
tion of laying hold of the tone should always be
present to the singer. He will then be conscious
of a power to mould and shape the sound at his
will.
The following hints from Mr. Ellis will assist
the teacher in observing, and the pupil in learning
the proper mode of attack. Only, that which he
calls the " clear attack," forms the true action of the
glottis to be practised by every singer. In this,
the vocal membranes are brought into contact
exactly at the moment when the breath is made to
act upon them. In the " gradual " attack, the
vocal membranes are brought together while the
breath is being emitted, so that the passage through
whisper to voice (whisper being speech without the
vocal membranes) is unpleasantly audible. As this
attack is common in speech, it is the more neces-
sary to guard against it in song. It causes what
we call " breathiness." In the " check " of the
voice, the vocal membranes are brought tightly
together before the breath acts upon them, and are
separated with a sensation of a click in the throat.
Only for an extreme staccato effect should this be
FIFTH STEP.
used. la the "jerk," the proper clear attack is
made with the addition of a sudden jerk of the
breath, produced by the diaphram or muscular
floor on which the lungs rest. This jerk can be
easily felt by the hand. It is the proper form of
the aspirate H for the singer that is H without
" breathioess." But, care must be taken not to
allow a puff of wind to escape before the vocal
membranes are brought close enough together to
make the clear attack. In the " slurred " attack
(that is the attack on the second vowel, or the con-
tinued vowel in a slur) there is a simple relaxation
in the emission of breath between the two vowel
impulses. So that no very sensible sound is heard
between the two vowels, and no " clear " attack is
heard on the second. The distinction between the
slur and the glide (p. 61.) is this : In the glide the
voice continues in full force while the organs are
passing from one vocal position to another, and in
the slur the voice is continued, but with greatly
lessened force. This is true both in music, when
wo pass from one tone to another, and in speech
when, without change of tone, we pass from ono
vocal position to another.
The " release " of the vowel by a clour action of
the glottis, leaving no ragged ends to the sound,
should be very carefully practised. It produces as
beautiful an effect as the clear attack itself. The
teacher will make his pupils try all the various
modes of attack, but practise only the clear attack.
The power of recognizing bad execution helps the
pupil to understand and enjoy that which is good.
Degrees of Force. To give his pupils a proper
command of their voices, in this respect, the
teacher will find distinct and frequent practice
necessary. The degrees of force ho may introduce
m the following manner :
" Sing me a tone to the open LAH, at an easy
pitch of your voice, which shall be neither loud nor
soft. . . What shall we call it, if neither loud
nor soft ? " Medium. " Yes, it is called a medium,
or, to use the Italian word (which has been adopted
into all languages for this musical purpose) a mezzo
(med'zoa)* sound of the voice. Let us write m in the
middle of the black board, for mezzo, and you can
Ex. 197.
sing with your medium force, whenever I point
there. Let each one try to fix in his mind what
is his own medium force of voice, and learn to pro-
duce it at command. Sing it now, as I point.
. . Again. . . &c."
"Sing the same sound lovier." . . For the
loud sound wo use the word forte (fortai) or the
letter /. We will write / to the right of m, on the
black board. . . "Now sing as I point." (m.
f. f. m. &c.)
" Sing the same sound softly. For the soft sound
we use the Italian word piano (pyaa-noa), and the
letter p. We will write p, to 'the left of the m,
thus :
p. m. f.
" Now sing with ' medium,' ' weak,' or * strong '
(mezzo, piano, or forte) power of voice, as I point
to one or the other of these letters." The teacher
points sometimes slowly, sometimes quickly, some-
times in one order, sometimes in another, and this
pupils sing accordingly.
When these rough outlines of vocal force have
been ascertained, and a good command of them
sec ured, the teacher may proceed to develop, in a
similar manner, the intermediate and the extreme
degrees of force, using the marks m.p. (mezzo-
piano), and m.f. (mezzo-forte), for the intermediate
degrees, and ff. (fortissimo}, and pp. (pianissimo),
for the extreme degrees, very loud and very soft.
Let the teacher show, by example, that it is
possible to give a very loud tone without scream-
ing :
The black board will now have the following
signs marked on it :
pp. p. mp. m. mf. f. ff.
The teacher will exercise his pupils in passing
from one part of this scale of strength to another.
A really gradual (not a jerking) passage from one
end of this scale to the other, and then back again,
is one of the most difficult feats in music. The
pupil must take a good breath before he begins,
and use his breath economically. The exercise is
of first importance.
f
f
f
/
P
P
P
P
1
1
H
:1
1
.1
ll
:1
Ex
198.
\
P
,
p
/
1
/
/
St.
Cb
. (XewJ
* The inverted full point marks
f
f
1>
\f
l
f f
f
an accent on the preceding syllable.
Ex. 199203.
FIFTH STEP.
97
Ex. 199.
pp p f ff ff f P PP ff f P PP
I :l \l :l I : I : 1 :1 ll :1
Ex. 200.
pp p mp m if f ff ff ff ff f m >
i i I
pp pp pp
m mp p pp
1 : | : 1 i
Ex. 201.
f f mf m mp p pp PP PP PP P m P m
/ f ff ff
: | : . 1 i
Crescendo (Kreshen-doa),*&c. A long tone or
a succession of tones passing gradually from the
piano or pianissimo, to the forte or fortissimo is
allied a crescendo tone or passage. A long tone or
a succession of tones passing from the forte or
fortissimo, to the piano or pianissimo is called a
decrescendo or diminuendo tone or passage. The
gradual passing from pianissimo to fortissimo and
back again to pianissimo is called a swell.
The crescendo is indicated thus, -=^L
The diminuendo thus,
The swell thus,
For the development thus far of the subject of
force in music, the Editor is indebted to Dr. Lowell
Mason, of America, who was the first to reproduce,
in the English language, the Pestalozzian prin-
Ex. 202. KEY D.
: < >
:r |n :f
s
|t
Staccato and Detached Tones. When a tone is
meant to be sung only half its proper length, and
in a marked (not loud) manner, this is indicated by
means of a small dash thus ( ' ) placed over the note.
This mode of singing is called staccato (stakkaa'toa).
When a tone is meant to be sung about three-
quarters of its proper length, this is indicated by a
dot placed over the note. These tones would be
called " half, staccato " or "detached" tones.
Legato. -When it is intended that the tones
should glide gently and easily one into the other
(the degree of force with which the first tone ends
being the same as that with which the second
begins}, a slur /- s or the word legato (legaa - -
toa) is written over the note. Sing the following,
St. Co. (New.) * For pronunciation,
ciples of music teaching, by which Nageli and
others had created a musical revolution in Germany.
See his " Boston Academy Manual of Vocal
Music."
Pressure and Explosive Tones. Pointing on the
" scale of force," as above, let the teacher cause
his pupils to perform a very rapid crescendo. A tone
delivered in that manner is called a " pressure
tone." It is indicated thus (<). In the same
manner a quick or sharp diminuendo will produce
the "explosive tone" marked thus (>). This
manner of delivering a tone is also called sforzando,
and marked */. A combination of the two last
modes of delivery on one short tone should be
expressed thus (/\). This musical ornament is very
elegant, but difficult to perform. A tone delivered
with equal force, from beginning to end, is called
an " organ tone," and may be indicated thus (=).
A
:t
A
11
A
:s
:n
ir :d
first with staccato, next with detached, and lastly
with leqato tones. Do not make the legato dull and
heavy, but smooth and elegant.
Ex. 203. KEY F.
:s s :f in :r
is
Application of Force. The application of the
various degrees of force to the sense of the words
is deferred to the last step. But, the use of force,
as suggested by peculiarities in the musical phrases
which are sung (apart from any modification which
words may suggest), is now to be studied. Of
course the words cannot be neglected at any step,
see Teacher's Manual, p. 202.
98
FIFTH STEP.
Ex. 204.
Already some hints on the subject have been given
at p. 30, and the teacher will add more as he comes
to the cases in each tune sung. It is only the
systematic study of verbal expression which is
deferred to the next step ; musical expression alone
will now be systematically studied.
Additional Exercises." We shall, from this
place freely use the Additional Exercises (Pts. 1, 2,
and 3) for the illustration of various points in musi-
cal and verbal expression, in musical Form and in
the Analysis of Harmony. Our illustrations will be
principally taken from the earlier numbers, but for
the Ess. all three numbers will be required. It is
very important that the pupil should, as far as
possible, not only see but " hear " the illustrations.
When the class cannot sing the piece, a quartet
should sing it to them. Pains have been taken
not only to suit these exercises to the progressive
steps of this book, and to select them from the best
composers, but also to secure in them as groat a
variety of style as possible. It is quite common
for a class to sing a large quantity of music without
really learning anything, because they are always
singing the same sort of music. There is, however,
always something new to learn in each of these
Additional Exercises.
Normal Force. By this is meant not the force
of certain passages, but the general the prevail-
ing force of the whole tune. Some pieces of music
by their bold character, evidently demand loud
singing to bring out their proper effect See ' trod
speed the right," p. 1. _" ^M, _son S; " p 18.
Ladv" p 21, &c. Of course the sense of the
words, and the character of certain phrases will
introduce modifications in the course of the tune,
but the "normal force" is that principally used.
The pupil should endeavour to obtain full command
of the Medium force of his own voice. The teacher
should give out a tone, and require his pupils to
sing it in various degrees of force as h- demands
them. Mezzo! piano! forte! piano! mezzo, &c.
He should then require his pupils to jndga from
the musical style, speed of movement, &c., of various
tunes, which of these three degrees of force should
be the normal or general one given to the piece.
Piano Passages. A true piano is sung, not with
laxity, but with effort. To keep a piano passage
from flattening in pitch, and to deliver it with clear
and just intonation is very difficult. Echoes are
commonly sung by a few select voices in another
room, but, for the practice of pianissimo, it is better
that they should be sung by all. When a true
blended and real pianissimo of many voices can be
obtained, it is far finer than the piano of a few.
Illustrations of piano and pianissimo, for simple
musical effect, may be found in "The Waits"
when sung the last time, in the imitations of
the "Cuckoo" and the "Quail," pp. 9 and 14,
at the change of measure in " Swiftly," p. 29 ; and
again at the change of measure, p. 31, &c.
Forte Passages should be sung with a very clear
vocal klang, and should be perfectly free from
the sound of breath. Such a forte is very heart-
stirring. But the rude, coarse forte produced by
strong lungs and harsh voice is only deafening.
Illustrations of this may be shown in the manner of
singing " God Speed the Right," p. 1. ' The
Waits," p. 8, when sung the third time. The
close of " Freedom's Sons," p. 13 ; close of " Hear
Me," p. 19, and several closing parts of " Swiftly,"
p. 32, &c.
Melodic Phrasing is the art of dividing a melody
into its natural parts, and showing by the manner
of delivery that the singer himself distinguishes
these parts, and wishes his hearers to distinguish
them also. It is as important that these phrases
should be distinctly marked by the good singer, as
that the various members of a sentence (as indi-
cated by the stops) should be marked by the good
reader. This can be done by singing one phrase
piano, another mezzo or forte and vice versa, by com-
mencing a phrase forte and ending it piano and
vice versa, by delivering the last tone of a phrase
staccato, and shortening the first tone of the next
phrase so as to allow a momentary silence before it,
and so on. The proper choice of breathing places
has a great effect in marking off the phrases. In
some cases the phrasing of all the " parts " will be
simultaneous; in other cases each "part" wiU
have its separate phrasing. The phrases m " God
Speed the Right " (p. 1.) are sufficiently marked
out by the lines of the words. Each of the long
lines is easily divided into two, however, if more
breathing places are required.*
Ex. 2O4. Mark the phrases and breathing
places, on the supposition that there are no words
to modify your judgment, in " God Speed the
Right," (p. 1.) and as the two opening periods
consist of the same music, mark how you would
St. Co. (New).
distinguish thm in musical expression.
For phrasing see further Musical Theory," Book IV. pp. 244 & 261
Ex. 205210.
FIFTH STEP.
Ex. 205.
p. 2.
Mark in a similar way " Jackson,"
Ex. 206. Mark in the same way " The Waits,"
Ex. 207. Mark in the same way " Freedom's
Sons," p. 13.
Ex. 208. Mark the phrases and breathing
places in the Contralto and Tenor of " Spring
Life," p. 3.
Ex. 209. Mark in the same way the Soprano
and Bass of " May-time," p. 5.
Ex. 210. Mark in the same way all the parts
of " Thou shalt show me," p. 7.
Ascending Passages. Passages which atcend by
the steps of the scale (or otherwise) should, as a
general rule, be delivered crescendo. Each tone
should run into the next with regularly increasing
force. We naturally associate height of pitch with
ideas of energy and spirit. Full force of sound
also naturally suggests the same ideas, and (except
where it would interfere with some greater effect)
should always accompany ascent. The gradual
nature of the ascent also tends to "set off" the
wider skips of interval in the other parts. It is
difficult to make the crescendo gradual, each tone
running into the next with a steady and not jerked
increase of force, neglecting for the moment the
common accents of the measure. It is generally
necessary to commence piano, in order that the
singer may have breath and strength to spare for
the end. The slightest signs of fatigue in a cres-
cendo, would utterly and miserably kill its musical
effect. Imitative illustrations may be presented
in the opening of " The Fortune Hunter," p. 4,
where there is an ascent of an octave from s, to s,
in the opening of " The Waits," p. 8, where
there is an ascent of a fifth. Ascending imitative
phrases, as in the last four measures of " Swiftly,"
p. 32, should be sung with a crescendo effect ;
notice also the ascending bass. See also Standard
Course Exercise 137. As a general rule, such
passages as these should be commenced more or
less piano in order to get the crescendo. For the
same reason, it is almost always necessary to take
breath before commencing such a passage.
Descending Passages should commonly be
delivered diminuendo, because an idea of quiet
and rest is naturally connected with descent of
sound. Descending imitative phrases follow the
same rule. Find examples in " Going Home,"
p. 2 ; " May Time," top of p. 6. But where the
character of the tune or the character of the words
requires energy and powe~, this rule must be
broken. See the bass " Awake .ZEolian Lyre,"
p. 64, 1st score.
When an ascending passage, in one " part,"
comes into contrast with a descending passage ia
another, and both passages are properly delivered,
the effect is very beautiful. See " The Quail
Call," p. 14, soprano and bass ; ." How Lovely,"
p. 60 (S. against C., and T. or S. and C. against
T. and B.), three times in two scores to the words
" Gone forth the sound of their." As a general
rule, such passages as these must be commenced
more or less forte, in order to get the diminuendo.
Repeated Tones. The repetition of a tone, if it
has any meaning, is intended to impress that tone
upon the ear with cumulative force. To assist this
purpose a repeated tone should be delivered cres-
cendo, partly because the singer thus compensates
the ear for want of variety in interval by variety
in the degrees of force, and partly because he thus
" sets off," by contrast, the movement of other parta,
just as the line of the horizon " sets off" a variei
landscape, and a quiet rock the rolling sea. The
steadily increasing power also shows that the
singer is not weary ; and it is among the rule*
of art never to show weariness or exhaustion UE
the artist. See examples in 2nd score, " Going
Home," p. 2 ; 2nd score, " Cuckoo," p. 9, and 1st
score, " O, Saviour," p. 86. Repeated phrases aa4
passages should be treated in the same way *t
repeated tones. See Standard Course Ex. 113;
air, meas. 3 and 4, and contralto meas. 5 and 4.
Ex. 115; meas. 11 and 12, and "repeated pas-
sage," Ex. 120, last four measures.
Prolonged Single Tones. Lifeless monotony n
unbearable in music, and therefore every ton
should take some form. It will be found by ex-
periment that the form most suitable for holding
tones is the swell, and this swell should be full ani
strong rather than soft and insignificant. The
composer commonly means that the other parts
should be covered with a flood of sound from th
holding tones. " The greatest difficulty of this form
of tone," says Fetis, " consists in employing aa
equal time in the increase of power and its diminu-
tion." A perfectly simultaneous and equal (not
jerking) delivery of this " tone form " by a chorw
is very difficult to attain. Only practising without
book, but with the signal of the gradually out-
stretching and gradually returning hands of the
8t. Co. I New). * " Musical Theory," Book IV., treats the subject of Expression with new illustrations.
100
FIFTH STEP.
teacher, can lead to this attainment. See the close
of " Hallelujah Amen," p. 28 ; " Swiftly from,"
three cases, pp. 29, 30. In the case of repeated
tones running into a prolonged tone, or a prolonged
tone breaking into repeated tones, the two should
be treated as one, and the crescendo extended
through both the prolonged and the repeated tones.
See the bass in the close of "Cuckoo," p. 10;
" Harvest Home," p. 39, two cases ; " Theme
Sublime," p. 68, 3rd score, and p. 70, 2nd score.
See also Standard Course Ex. 138.
Melodic Imitations. When a composer makes
one section or period of a melody imitate another,
he designs that the singer should, by his manner,
draw attention to the imitation. The best way of
doing this is to make a contrast of force between the
two. One must be more or less loud and the other
soft. The pupils must study " the points " of a tune
in order to know which of the passages must be loud
and which soft. In "Jackson's," p. 2, the second
section imitates the first chiefly in its rhythm. As
it is a "rising" imitation, it is natural that it
should be sung louder than the phrase it imitates.
In the " QuaU Call," p. 14, the section beginning
" Look at her " imitates the first section, and is
itself imitated by the section which follows. As
the imitations are all " rising," the first section
must be delivered very piano to get anything like a
forte on the last imitation. A striking rising
imitation is in " Hear me," p. 18, 1st score. A
falling imitation, which would naturally be softer,
is in " Nearer," p. 35, 2nd score. In " Where the
Gay," p. 65, we have a descending rhythmic imita-
tion, preparing by its diminuendo for the striking
succession of ascending imitations which imme-
diately follow. See Standard Course Ex. 113,
6th score, at " Rejoice, rejoice." Ex. 188, meas.
5 to 9. Ex. 233, on " and in " to " me live."
Harked Entrance. When (as in much of the
old sacred music, in the old English Madrigal, &c.,
&c.) each " part " in turn, takes the lead in an-
nouncing (in fugal style) the principal melodial
theme, that " part " should assume its passing
office with dignity, decision, and expressive clear-
ness. The other " parts " should, at the same time,
" give way," and hold themselves subordinate. It
is plainly the composer's intention, that the
entrance of these phrases into the music should be
distinctly marked, like tho entrance of some dis-
tinguished guest into a drawing-room, when all
conversation is hushed and all eyes are intent.
St. Co. f
Study examples in " Thou shalt show me," pp. 7, 8,
in which all the parts hush, to listen to " thou shalt
show me ; " " Bon Accord," p. 11, where the same
thing should take place on the words " O, Grant us
by," or " Thy goodness more." Marked entrance is
often effective when there is no fugal imitation, as in
" Going Home," p. 2, second score ; " Hear me,"
p. 18. 4th score ; " Spring Life," pp. 3, 4 ; " May
Time," pp. 5 to 7. See also Standard Course Ex.
116, scores, 1 and 2 ; and Ex. 113, scores, 1, 2, 6,
contralto, " Rejoice."
Subordination of Farts. As in tho rule of
" marked entry " the other parts were kept subor-
dinate to the part which was entering the music,
so in many other cases this hushing of several
parts for the better display of some principal part
has to be observed sometimes, as in " Gipsies Tent,"
p. 36, end of 1st score ; during part of the tune the
melody is evidently given to the soprano, and the
contralto, tenor, and bass sing a -subdued accom-
paniment, like the soft accompaniment of a
piano or organ. Sometimes, as in " 0, the
Joy of Spring," p. 57, this is tho case through-
out the tune. Sometimes, as in " Saviour,
Breathe," p. 92, the principal melodies are given at
one time to the soprano and contralto, and at
another time to the tenor and bass. When the
chorus is only an accompaniment to the melody,
the harmony should bo delivered in careful accor-
dance with the joyous or the saddened spirit of the
ruling melody, and always so as to let that melody
be well heard. An unsympathetic accompaniment
disgusts the mind of tho listener. Let it be under-
stood however, that whenever the part accompanied
is silent, the accompaniment itself may speak out
in fuller force and claim the attention of the
listener. See " Gipsies Tent," p. 35.
Humming Accompaniment. Humming accom-
paniments may be produced in several ways. First,
by tightening and vibrating the lips without any
voice from the larynx, the lips vibrating all round
and not on one side. This should only be done
when something of a reedy buzzing effect is wanted.
Second, by a soft voice from the larynx with
only a slight opening of the lips. Third, by a soft
voice from the larynx, resounding in the nose, the
lips being closed. In this case the singer must be
careful not to contract the muscles of the nose so
as to produce a nasal quality of tone. Care should
also be taken to secure an exact and unanimous
striking of the tones, so as to imitate the effect
Ex. 211221.
FIFTH STEP.
101
of stringed or roed instruments. See " Night
around," p. 22, and " Angel of Hope," p. 48. In
these cases the third plan should be adopted. See
also Standard Course Ex. 190.
Imitative Sounds. When it is desired to imi-
tate the rippling of water, the sighing of wind,
or the sound of the drum or horn, the syllables
commonly written under the notes, cannot be a
sufficient guide to the singer ; he must try to
imitate the sounds intended, without caring to
pronounce the exact syllables which dimly intimate
them. The effect of nearness or distance is con-
veyed by loudness or softness of sound. Thus when
the Christmas waits (p. 8) are supposed to bo at
a distance they sing softly ; as they approach their
singing sounds louder, and as they retire again
their music dies away in the distance. The same
remark applies to the sound of the drum, or any
marching instruments. In a similar way the sound
of distant bells, wafted by gusts of wind, may be
imitated. See " Come, let us all," pp. 24, 25.
In imitating laughter we must remember that it
has two characters ; it is either light and trifling,
or heavy and bold. Such a passage as " Fortune
Hunter," p. 5, first score, may be treated in
either way according to the spirit of the verses ;
if in the latter way it will contradict, but worthily,
the natural diminuendo of a descending passage.
Ex. 211. What musical expression would you
give to the air in " May Time," from end of
p. 5, to first line p. 6 ?
Ex. 212. What musical expression would you
give in " God Speed the Right," p. 1, to the air in
first part of 3rd score, to the air and bass in first
part of 4th score, to tenor and bass in 3rd score,
and to what part of this piece does the rule of
subordination of parts apply ?
Ex. 213. What musical expression would you
give to " Harvest Home," p. 41, end of second and
first part of 3rd score, also to soprano and con-
tralto, 2nd score, also to tenor and bass, p. 40,
first part of 2nd score, and also, tenor and bass
beginning with second part of 2nd score, ending at
the top of p. 41 ?
Ex. 214. What musical expression would you
give in " Loud the Storm-wind," p. 95, to the air
of chorus, 2nd and 3rd scores ?
Ex. 215. What musical expression would you
give to the air of the first line in " Father," p. 34,
and to the aii of the first line in " If I had,"
p. 45 ?
Ex. 216. What musical expression would you
give to the tenor and bass in the first eight mea-
sures of " Saviour, breathe," p. 91 ?
Ex. 217. What expression would you give to
the music in " Hear me," p. 19, 2nd score, where
each of the parts in turn utters the words " It is
thou ; " and to the 1st and 2nd scores on p. 26 ;
and to the 3rd and 4th scores of " Swiftly," oiv
p. 31, and to the 3rd and 4th scores of p. 30 ; ant
to the first three scores of " We fly," on p. 20 ?
Ex. 218. How should the accompaniment be
sung in " Home," p. 76 ?
Ex. 219. What expression would you give to
the music in all the four parts, of " How Lovely,"
p. 61 ; scores, 3 and 4 ?
Ex. 220. What musical expression would you
give to Standard Course Exercise 170, 1st score,
both parts; Ex. 115, 3rd score, third and fourth
measures ; Ex. ; 170, 2nd score, both parts ; Ex.
171, Amens in air, Hallelujahs, in contralto; Ex.
194, air in 9th and 10th measures, and llth and
12th ; Ex. 145, last eight measures ; Ex. 193, first
section, ditto second section ; Ex. 190. first and
second sections ?
Ex. 221. What musical expression would you
give to Ex. 136, air, 1st score; Ex. 195, 1st and
3rd scores ; Ex. 195, contralto, fourth measure,
from lah to third me ; Ex. 116, contfalto, half
second, and whole of third score ?
Congenial Tones. As every tune has its own
proper character, (bold and spirited, cheerful, didac-
tic, solemn, &c.) it is natural that the Tonic Sol-faist
should give clearest force to those tones of the
scale which correspond best with the general sen-
timent of the piece, are " congenial " with that
sentiment. Thus, in a quick and stirring tune, he
would naturally emphasize the trumpet tone Son,
the rousing RAY, the strong DOH, &c. ; and in a
slow and solemn tune, the sorrowful LAH, the deso-
late FAH, &c. With this idea in the singers' minds,
the tune will immediately become a new thing.
The pupils will soon discover that they possess the
power of making this, or any other peculiar effect
prominent in the general harmony, very much in
proportion to the height, in their own voice, of the
tone which gives that effect. Thus a high tenor
tone will tell better than a low one. A high con-
tralto tone will also command attention, because
energy and spirit is implied in the very effort of
the voice to rise above its medium compass, and
tha more piercing sounds are better heard. Low
St. Co. (New).
* See " Musical Theory," Book IV, p. 259.
102
FIFTH STEP.
Ex. 222 b.
sounds (in contralto and bass) also imply energy
and force, and they are capable of yielding a good
effect, especially when the harmony is " dispersed,"
and no other sound lies near. Some composers
have great skill in setting the congenial tones of
the music to that register, in each voice which is
the most distinctive and the most beautiful.
Any high sound, or any favourably situated low
sound which is not " congenial " with the general
effect, the instructed singer will, therefore, deliver
as lightly as possible. On the other hand, when
the congenial tone occurs in a favourable position,
he will never let it miss of its effect. With these
principles to guide him, every singer may know
where the strength of his " part " lies, and where
it can best contribute to the general harmony.
Psalm tunes, of the " didactic and variable " style,
will thus be very differently treated according to
the character of the words sung. If we were sing-
ing " The Fortune Hunter," (p. 4) we should notice
that it was a very lively and playful tune, meant
to be sung in a light staccato style that, therefore,
the quickly uttered emotional tones of the scale,
would produce an effect congenial with the general
character of the music. The sopranos would find
an opportunity of developing congenial tones with
bright explosive force on the first r of their part,
and the second 1 and the second f. To contrast
with these and give force to the jollity, the first s
and the second d' would be similarly delivered.
The 1 being in the high part of the voice should be
brilliantly attacked ; and the piquant effect of f
against the t, and below it, should be brought
out with sharp accent. The contraltos have
nothing very effective till the two bursts of bright
sounds under the soprano 1 and d'. The greatest
power of the tenor lies in the delivery of t under
the soprano f ; and the best point of the bass is in
the of the same chord. " Rise my Soul " (p. 33)
is naturally a tune of joy, changing into meditative
kood on the last section. The sopranos will, there-
fore, find congenial tones in their first bright 8,
in the stirring t and the triumphant d', for the
change of character in the tune their returning f
can be well given. The contraltos have a good
M| in that full part of their voices, which best dis-
tinguishes them from other voices ; they can help
the excitement in the beginning of the second
score by delivering their s, which is in the upper
part of their voice, clearly and lightly. The tenors
can set their mark on this tune by a prompt
delivery of in the first chord ; their 1 at the
St. Co. (Nsv>j.
beginning of the last section is also in a charac-
teristic part of their voice. The basses have a tine
effect in the full part of their voice in the first
cadence, and they can well employ the high part of
their voice in the second cadence, where 1 for a
joyful effect should be delivered curtly ; the re-
turning f which follows will be naturally well
marked. But, if to suit the words this tune has to
be sung with a solemn or mournful effect every-
thing is changed each voice must then strive to
bring out f and 1 wherever they occur, and to
lessen the force of the brighter tones. In " Come,
let us all," (pp. 24, 25) the bell ringing (which is
heard as a distant subdued accompaniment to the
cuckoo), is given to two parts. But of these two
subdued parts, the most distinct and bell-like are
first the tenor, afterwards the bass, because the
tones are thrown by change of key into the higher
parts of those voices ; and of the two subdued
parts, these must always have the pre-eminence.
See also congenial we and fa '< in a tune which
expresses at once solemnity and repose in Standard
Course Ex. 136 ; the congenial doh, me, soh, in
a tune of great boldness, Ex. 137, and the con-
genial lah and fah in a tune which expresses soft
and tender feelings, Ex. 140.
Ex. 222. Describe the general character of
' Jackson's," p. 2, and its congenial tones ; name
those congenial tones in each " part " which lie in
the full characteristic region, or in the higher or
more marked part of each voice.
Ex. 223. Describe " The Waits," p. 8, as
above.
Ex. 224. " Father," p. 34, as above.
Ex. 225. " Nearer my God," as above.
Rapid Passages. The composer would never
give the singer a rapid passage or run if he meant
the notes to be blotched, and blurred and run into one
another, so as to be little better than an indefinite
and disagreeable single tone. He designs them to
stand as distinctly united and as distinctly apart
" as the pearls 01 a necklace, resting on a black
velvet dress." The singers must give them the
clearest articulation, and there must be perfect
unanimity of attack. In order to secure this effect
the pupil should always take breath at the begin-
ning of a long run, and economise it carefully so
that there be no appearance of fatigue at the end.
In some choruses it will be necessary to " smuggle
in " the breath even in the middle of the run.
Illustrations can be found in " Thou shalt show
STEP.
103
me ' (p. 7) on the first syllable of the word
"presence." An exact delivery of the TAA-efe,
with unanimity of attack, will make this little run
bright and beautiful. In " We fly by night "
(p. 20) there are runs which will require careful
forethought for the management of the breath.
In " Hallelujah " (p. 27), unanimous and perfect
delivery of TAA-efe, TAA-tefe, tafa-TAi will be re-
required. In " Swiftly " (p. 32) we very seldom
hear " universal song " sung with pearl-like clear-
ness ; it is more like a skuttering upstairs of many
irregular feet. Handel's runs should be cultivated
with great care as exercises in flexibility. See also
rapid passages in Standard Course Exs. 102, 120,
174, and 247.
Form of Single Tones. The explosive tone
naturally expresses vigour and decision of feeling.
See pp. 12, 39, 42, 45, 57, and Standard Course
Ex. 141.
When a composer alters the accent by synco-
pation for a moment, he wishes the syncopation
to be noticed by the hearer. The singer must,
therefore, give it the explosive tone. Syncopation
generally expresses restless force or impatient
desire. See p. 87, 4th score. See also " Ye spotted,"
p. 81, a case of piano-explosive tones, in tenor s,
end of 1st score ; contralto d, with soprano r, at
beginning of 2nd score. See also Standard Course
Ex. 114.
The pressure tone naturally suggests deepen-
ing emotion. In any touching three-pulse measure
to deliver the second pulse with this tone, at least
occasionally, produces a beautiful effect. See
" Jackson's," p. 3 ; notice also " The Woods,"
p. 72, second score. See also Standard Course Ex.
139, and Ex. 140.
Pressure tones on a weak pulse, swelling
into explosive tones on the next strong pulse,
are often very effective. A good solo singer
would often instinctively use them in slowly
moving psalm-tones, on the last pulse of a measure
moving to the next accent. See p. 57, 3rd
score, and p. 17, last score. See also Standard
Course Ex. 193.
The legato style of singing is a modification
of the pressure tone. It gives a smooth, gliding
effect to the tones, and lessens the distinctions of
accent. See p. 63, 3rd and 4th scores ; and p. 82,
1st and 2nd scores.
The staccato style of singing is a modification of
the explosive tone. It gives an abrupt, forceful
St. Co. (New.)
effect to the tones, and necessarily lessens to a con
siderable extent the distinctions of accent. See
tenor and bass, p. 40, and p. 42, first and last
scores. See also a piano-staccato, immediately
following a legato passage on p. 82, third score.
Unison Passages. Passages in which all four
parts strike either the same tones or their octaves
together, should be sung with great care, so as to
produce a perfect and clear blending of the voices.
The voices should feel for one another, but not
timidly, for such passages are generally meant to
be very firm and strong. They should sing with
conscious sympathy. See " God Speed," p. 1 ;
" Fortune Hunter," p. 4 ; " 0, Saviour," p. 87 ;
" Harvest Home," p. 41, 2nd and 3rd scores ;
and " Stout Limbed Oak," p. 78, first and last
scores.
Cadences. Few things are more painful to a
listener than to think that a singer is tired, few
things more inspiring than to feel that he closes
without fatigue. Even when the cadence is down-
ward and diminuendo it should be firm, but in
ascending cadences a sustained crescendo is abso-
lutely requisite. See close of " Harvest Home,"
p. 41 ; and " Quail Call," p. 15, 1st and 2nd scores.
Notice a vigorous descending cadence in " God
Speed," p. 1 ; and others in " Theme Sublime,"
S, 71 ; " Rise my Soul," p. 33 ; " Stout Limbed
ak," p. 77, 4th score. See also contrasted cadences,
Standard Course Ex. 145, last two scores.
Distinguishing Tones of transition of the minor
mode and of chromatic resolution (except when
occurring in some subordinate part, and evidently
introduced more for the convenience of the har-
monizer than for any effect upon the harmony),
should always be delivered with marked emphasis ;
for they have an important meaning. They change
the mental effect of all the other tones. For the
voices, in whose part the accidental occurs, not to
deliver it firmly is to rob the whole music of its
meaning. The tones of " returning transition ''
should also be emphasized. But, if the transition
itself were carelessly given, this second effect would
be lost.
Those movements of the bass which mark the
tonic cadence of a new key, as | d : r | s.
and | r : r s, : or of the relative minor,
as | r : m | 1 and | m : m | 1 should be
markedly delivered, because they help to certify
the transition or modulation. See p. 52.
104
FIFTH STEP.
Ex. 226-232.
Chromatic resolutions should also be firmly
shown, because they are intended to reassert the
key. Special attention should be given to those
tones of the chord which would be quite differently
resolved if a transition were meant. In " Hope
will banish," p. 12 ; 2nd score, the fe in the air is
not in a favourable position for accent, but that in
the bass should be well delivered. In " How
beautiful," p. 12, at the end of the 1st score, the
cadence is made to change key, more by the move-
ment of the bass than by the very light distin-
guishing tone in the contralto ; therefore, let the
bass move firmly. In the next score the distin-
guishing tone of returning transition, which in
this case is f, although it docs not appear till the
end of the section, comes out then with effect, and
should be clearly delivered by contralto and bass.
The same voices have the " returning f " at the top
of p. 13. In " Hallelujah," p. 26, the sopranos
have a very effective returning f. In " Lord, in
this," p. 33, of course, the e will be well marked,
because it is the distinguishing tone of the minor.
In the second line of words there is a modulation
to the major, which should be strongly marked by
the cadential movement of the bass, and by the
tenors' clear use of 8 instead of the preceding so. In
" Ye spotted Snakes," p. 81, the tenors have a
returning f at the end of the 1st score, and the
contralto a transitional f at the beginning of the
next score. In " Saviour, Breathe," p. 91 and 93,
the chromatic resolution of le into f should be
clearly marked by the voice. In this piece, as well
as at pp. 79, 94, 95, and 96, the manner in which
such tones as de, re, ma, &c., flow into the tones
which follow them should be clearly and lovingly
marked.
Dissonances. In all cases of dissonance there is
a "resisting" tone, and a " dissonating " tone.
Every singer should know which of the two be-
longs to his part, the strong resisting tone or the
smoothly moving dissonance. See pp. 21, 36, &c.
It is difficult for pupils with uncultured cars to
sing either of these tones steadily. But they matt
be sung without any " giving way." Else, their
purpose is lost, and their beauty gone. Where
would be the beauty of a cataract if the resisting
rock gave way to the struggling current which
strikes against its side and then flows on ? The
resisting tone should be sung in a firm, almost
" explosive " style, and the dissonating tone (which
springs from its "preparation," and flows forward
to its " resolution ") should be delivered as part of
f. Co. fNnc.J
a short melodic phrase in a very smooth-connected
manner. Let the pupils test their power of deliver-
ing dissonances well by singing " Jackson's " p. 3.
where on the word " through " the contraltos have
d dissonating against r of the soprano, and on the
word " day " r against m, where also on the word
" led " the sopranos have t dissonating against the
tenor d', and on the syllable " vin " m slightly
dissonating against f,, in the bass ; while, on the
same syllable the tenors have s, not only dis-
sonating against this low f, but beating as a second
against the 1 of the contraltos. This study of the
dissonances will not only give the singer courago
but great enjoyment, and will wonderfully add to
the beauty of the effect. See also Standard Course
Exs. 114, 141, 244.
Ex. 226. What is the stylo in which you
would sing the passage in " Harvest Home,"
p. 40, " O'er them the wavy wealth; " and "Theme
Sublime," pp. 69, 71 ; and the "Stout limbed oak,"
pp. 77, 78 ?
Ex. 227. What form of expression would you
apply to the following tones on p. 67. Bass f, 1st
score ; 2nd score, tenor d, followed by bass
s and f ?
Ex. 228. What form of musical expression
would you give to the two la/is of contralto, p. 85,
3rd score ?
Ex. 229. What style of expression would you
give generally to the tones of Standard Course
Ex. 140 ?
Ex. 230. In singing the p. passage, " Morn-
ing Prayer," p. 79, 1st score, what special care
will be required from the singers in all the parts ?
Ex. 231. Why should the contralto and bass
in " Come, Freedom's," p. 13, 2nd score, third and
fourth measures be firmly delivered ; and what note,
soonfollowing in the same voices, should be specially
emphasized '; In " Rise, my soul," p. 33, what aro
the most noticeable distinguishing tones, and how
should they be sung ?
Ex. 232. What musical expression would you
give to Standard Course Ex. 142, third score, ta, and
fe, ; Ex. 189, third score, te ; Ex. 193, second score,
ba?
Parsing Fugal Passages. The practice of
parsing, described at the last step, becomes more
difficult, but also more interesting when we have
to analyse fugal imitations, or those in which one
part seems to fly after another. In these cases the
great rhythmical divisions of the melody are not
so regular. One musical idea is made to interlaca
FIFTH STEP.
105
with another thus, in Ex. 234, before the first
section is complete the second voice commences a
section of its own, and it is so very frequently
throughout this and other pieces. We are therefore
obliged to describe the passages and sections in
such manner as the following : Ex. 234 consists
first of a subject of one measure and a half,
started by the upper part, and imitated at the
interval of a fourth below by the lower part after
one measure. This also, after one measure, ' is
imitated in the fourth above with a varied cadence.
This again, after one measure, is imitated in the
fifth below ; and again, after one measure, in the
sixth above, and again in the sixth below. After
two measures the original theme with the old
cadence is taken up by the higher voice for two
measures, while the lower voice ornaments it.
Then follows a sequence of two measures, each
portion of which contains an internal imitation.
The piece is concluded by four measures of orna-
mental cadence. Ex. 195 opens with a subject in
the lower part of three measures and a half which
is imitated in the higher part, after three measures
in the fourth above, the lower part supplying a soft
and light accompaniment. Then follows eight
measures of what may be called contrapuntal
symphony that is, a play of the parts one against
the other without special meaning. One measure
before this is concluded, the higher part starts the
old three-measure theme, which is indefinitely
imitated after two measures, and then for six
measures more there is another contrapuntal sym-
phony. Again the lower part starts its first theme
with a varied cadence extending to five measures,
and this is imitated again in the fifth above, not
as before after three measures, but after one mea-
sure. This coming closer of an imitation is called a
Stretto. After a brief ornamental, f ugal imitation,
the piece closes with five and a half measures of
contrapuntal symphony. The singer should mark
with pencil the exact length of the fugal subjects.
When the other part or parts merely accompany
the fugal subject they will, of course, be kept
subdued. In the interludes and symphonies the
parts may be of equal force. In the stretto the
entries should be strongly marked, but the parts
may be of equal force till the first which
entered has finished the imitated subject, leaving
the second to be well heard in its close. These
observations will show the importance of this
study. Let the student be now required to write
out analyses of such exercises as 233, 235, and 246.
Himjroea <JL 01 ises us LOO, $0, aim ^-*o. voices in a congre
Si. Co. (New). * See further " Musical Theory," Book HI, p. 105.
It will be difficult to do so by sight, they should
sing the exercises with a friend several times
over.*
The Small Eegister is in the highest range of
the human voice, and belongs to females and boys
alone. They naturally pass into it on one-FJ (FJ 1 )'
or one-G (G 1 ). It is remarkable that the change of
breakage into this register should be just an octave
higher than that into the thin register. It is this
fact on which early students of the voice built the
false theory, that the registers of the male and fe-
male voices were the same only, an octave apart.
The distinction in quality between the small register
and the thin is not so marked as that between the
thin and the thick. The small muscles by which the
voice is produced in this register are very delicate,
and Garcia recommends that they should not be
overstrained by too much practice. Some deep
contralto voices, though weak and breathy in the
thin register, produce many tones of this highest
register. Their larger larynx and stronger chest
enable them to force these tones more easily than
many sopranos ; but, though the volume is greater
the quality is inferior, and ordinary singers should
be advised not to cultivate a useless and unpleasant
part of their voice. Specially gifted solo singers,
like Alboni and others, have had opportunities of
cultivating and using every register of their voices
in a manner which, to most contraltos, would be
impossible.
For ordinary choral singing the tones of this
register, except one-G (G 1 ), are little used ; but
Bach, Handel, Haydn, Mozart, Beethoven, and
Mendelssohn all use one-A (Al) in some of their
choruses, so that every choral society should be
able to command full, clear and unstrained force
on this tone. This can be best obtained by culti-
vating the small register of the sopranos. It is
sweeter and brighter than that of the contraltos
above referred to and besides, it is continuous,
in them, with a good thin register (which such
contraltos generally lack), so that passages running
across the " break " can be sung with an even
quality of voice. The classic composers expect
their solo singers to go much higher. Beethoven
in Engedi requires two-D (D 2 ) ; such things must
be done by voices professionally trained. In psalm
tunes written for trained choirs one-G (G') may be
used even on holding tones ; but, psalm tunes
written for congregations should not even touch
the small register, because the mass of women's
voices in a congregation are not trained to its use.
106
THE VOICE MODULATOR.
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NOTE. The thick horizontal line shews the " great break " between the Thick and Thin
below G. The thin line, an octave above, shews the " small break" between the Thin and Small
The dotted lines shew the average place of break, the other lines the highest place that is safe.
St. Co. (New.)
Registers,
Registers.
FIFTH STEP.
107
The small register, like the other registers, can
overlap downwards ; but it does not so frequently
do so as the thin register in men's voices. It may
often be of advantage and a relief, especially to a
second soprano, to take one-F (F') habitually in
the small register.
The Lesser Breaks of the voice divide both the
thick and the thin registers into upper and lower
parts. The break between the upper and lower
thin register, is quite manifest in ordinary soprano
voices between one-C (C 1 ) and one-D (D 1 ). The
upper thin may overlap downward, but does not
commonly do so. The break between the upper
and lower thick registers is easily noticed in male
voices between A-one (Aj) and B-one (B ( ). The
upper thick register may overlap downwards, but
seldom does so in male voices. Madame Seiler says
that in women's voices this break occurs one-third
higher, between C and D ; but we have noticed
that many women habitually make the upper thick
register overlap downwards, so that they change
into the lower thick, just where the men do, on
A-one -(A|).
Speaking Registers. Men commonly speak in
their thick register. Tenor voices, however, use
the pleasant higher thick register. Very rarely a
man may be heard speaking in his thin register,
with a thin squeaking quality. Those who have
to do with partially deaf persons ought to know
that men are better heard when they speak gently
at a high pitch of their voice, than loudly at a low
pitch. This constant speaking in the thick register
is the reason why men are tempted in singing to
strain their voices too much upward, and to neglect
the cultivation of their thin register. Women
commonly speak in their thin register ; but some
contraltos use their rich upper thick tones, and
occasionally a woman may be heard to speak in the
rough lower thick register. It is this common
habit of using the thin register in speech which
tempts them, in singing, to employ it downward
more than is necessary and so, to neglect and
ignore the better tones of the upper thick register.
Mechanism and Feeling of the Registers. In
the lower thick register, the whole length and the
whole substance of the vocal membranes are thrown
into full vibration. (See the Diagram at the side
of the Voice Modulator). The air must, therefore,
press upon the membranes with a greater volume
than in the other registers. "We feel the air passing
into the windpipe from all parts of the lungs. This
widens the rings of the windpipe, and as a con-
St. Co. (New.)
sequence, draws down the larynx. " One thus haa
a sensation," says Madame Seiler, "as if the whole
body took part in this formation of sound."
In the upper thick register, while the whole
thickness of the membranes is still in vibration,
their length is greatly shortened. " The sensation,"
says Madame Seiler, " is as if the tones came from
the upper part of the chest." These physical sen-
sations do not show how the sounds are generated,
but what parts of the nervous system are excited
in the process. They help us, however, to recognize
the distinctions of register, and they account for
some of the conflicting names by which the registers
have hitherto been known.
In the lower thin register the whole length of
the membranes is again employed ; but only their
thin edges vibrate. " The feeling is as if they had
their origin in the throat."
In the upper thin register the membranes are
again shortened, and the feeling is " as if the
throat had nothing to do with the tones as if
they were formed above in the mouth."
In the small register only a small part of the
glottis to the front of the larynx is opened, and
" one has the feeling," says Madame Seiler, " that
the tones come from the forehead." Thus the
singer is like the violin player who sometimes uses
a thin string, sometimes a thick one, sometimes a
short string, sometimes a long one. These points
of information will help to fix the pupil's attention
on the various changes of his voice.
Boys' Voices we find to be much the same, in
their various registers, as women's voices, but they
are commonly used more roughly and coarsely.
The practice of permitting boys to shout against
an instrument in village schools and chuiches, not
only tears the voice to pieces, but destroys that
tenderness and fineness of feeling which music
ought to promote. It is this coarse use of boys'
voices which has produced the impression that they
are different in quality from those of women and
girls, and incapable of gentle training; but of course
the greater physical strength of boys gives a
greater volume to their voices than girls possess.
It is a great mistake to set all the boys in a school
to sing the contralto, and all the girls soprano.
The soprano and contralto voices are found in
about equal proportions among both boys and
girls. When the time of the " change of voice "
comes, the practice of singing should, for a time,
not be even attempted, and should be only gradually
108
FIFTH STEP.
and carefully resumed. Many voices have been
ruined by the neglect of this precept.
Voices and " Parts." The four principal
"parts" of choral music are marked at p. 29;
but for glees, anthems, and men's voice music, we
require a more minute classification, and as the
cultivation of the thin register has probably made
some good tenors, and that of the thick register
some good contraltos, the teacher should now
advise each of his pupils as to the part or parts
for which his voice is adapted. The " parts "
which women have to sing are often divided into
first soprano, second soprano, and contralto, Occa-
sionally we meet with four-part women's music
requiring the contraltos to be divided into first and
second. The " parts " which men have to sing are
frequently marked first tenor, second tenor, and
bass ; ( an additional part being sometimes written
for a 'first or second bass. Those who have analysed
a great number of voices know that there is an
almost boundless variety. Nothing should satisfy
a teacher who wishes to use his class for the higher
kinds of music, but an individual examination of
each voice, on the plan of the " Voice Report
Book."
The prnresx of examination ia simple but needs
to bo conducted with deliberate care. The teacher
gives in the case of women and boys, the pitch of
(T, and in the case of men G-one (Gj). If only a
tuning-fork is used, the greatest care is necessary
to secure the exact pitch. Beginning with G or
G-one (Gj),the pupil laas downwards, (in long tones,
taking breath before each), s, f, m, &c., while the
teacher points on the " Voice Modulator."* The
teacher takes notes or dictates them to an assistant.
Doubtful tones should be tested over again. The
various " breaks " should be crossed both upwards
and downwards. When this has been done, the
pupil, starting again from G or G-one (G ( ), laas
upwards, s, 1, t, d 1 , &c., while the teacher again
studies and records the present condition of his
pupil's voice. The teacher can bracket together
several tones of the scale at the side of his Voice
Report, and mark either by words or by figures
(1 for fair, 2 for good, 3 for very good), first the
quality then the volume ; or, he can mark the tones
singly in the same way. Figures showing degrees
of excellence in the blending of the registers should
be given in each case. The most useful men's
optional tones should bo named, and the place at
which M woman's voice breaks, between the upper and
lower thick registers, should be marked. After
this it will be easy to mark the full compass of the
voice and its best region. These considerations
will decide the name to be given to it, as first or
second soprano, &c., first or second contralto, &c.
A faithful " Voice Report Book " will be invalu-
able to the teacher when he wishes to select singers
for any particular purpose, and it will lead the
pupil to study and cultivate his own voice.
A first Soprano cannot easily be mistaken , she
possesses in addition to a good thin register, a
few tones of the small register which easily blend
with it. A second Soprano is distinguished by the
possession of a good upper thick register, along
with a good thin register, even if she cannot com-
mand more than a tone or two of the small.
A Contralto voice is that which possesses good
full tones in the distinguishing region of the con-
tralto " part " the upper and lower thick registers.
The teacher must not be misled by the great
compass upward which some of these voices possess,
for their thin register is commonly weak and tune-
less ; whilst their small register, though strong, is
hard. When first contraltos are wanted, the teacher
will naturally select those which are weaker in the
lower thick, and better in the upper thick registers
than the rest. This last voice is sometimes called
mezzo (med'zoa), soprano.
A first Tenor (as it is now called in Germany
and France), or an old English "counter tenor,"
cannot be easily mistaken. He has a light and
pleasant quality of voice in the upper thick and
lower thin registers. Well-trained counter tenors
can give good tones up to one-F (F') at the top of
the upper thin register ; but such a range is not
common. The highest reach of men's voice " parts "
in Palestrina's time was one-C (C 1 ), or one-D (D') ;
the counter-tenor in Tallis and Morley's music
reaches A and B|?, and the first tenor in German
men's voice music does not often go above B?. It
is quite common for tenors to force their wpper
thick register as high as this tone, but it is the
distinctive quality of the first tenor that he uses
with pleasure his thin register, and produces with
it bright, yet soft and fiute-like tones. This first
tenor, counter tenor, or tenor alto was used in
England for the highest parts in men's voice music
throughout the famous Elizabethan and Madri-
galian age. But at the restoration of Charles II.,
the Italian Opera brought along with it the Eunuch
singers, whose rich, strong contralto voices sug-
gested to bass singers the employment of their
equally powerful, but not rich, upper thin registers.
St. Co. (New.}
* Large " Voice Modulator," Is.
FIFTH STEP.
109
This unfortunate discovery led to the neglect of
the softer and brighter counter-tenor, and all the
contralto music through Handel's period was
written for the hard-toned bass-alto, and the same
voice is still used instead of the richer female
contralte, in cathedrals and choral societies, in
which eighteenth-century traditions are preserved.
It has been observed above (See " Small Register ")
that contralto, as well as bass singers, possess the
power through their larger larynx and stronger
chest of forcing the highest register of their voices.
Like them the bass-altos are weak and breathy in
the next register below, so that there is DO con-
tinuity and equality of voice across the break at
G, and the change of register is marked and
unpleasant. This peculiar, unsympathetic voice, is
often uncertain and out of tune, and its cultivation
is very undesirable. The Tyrolese basses use this
thin voice in their Jodl songs ; but do not attempt
to employ the region of voice lying between. The
true counter-tenor or tenor-alto is no more wanted
to take the place occupied in modern times by the
contralto than is the bass-alto. But, for men's
voice music, and for solo singing, it is very valu-
able. The teacher will notice that many tenors
have of late been misled by the false talk of a chest
G or a chest A, so as to force their thick voice
upwards, leaving the beautiful tones of their thin
voice entirely uncultivated. The practice of men's
voice music, either separately or for half an hour
after a mixed-voice class, will remedy this, and
restore to England her long lost counter-tenors.
The second Tenors are known by the excellence
of their lower tones ; they have but little use for
their thin register except on G. There, however,
it should be truly cultivated if not also, as an
optional register, on F. E. D. Tenors of both kinds,
of the highest eminence, habitually change to the
thin register on D or E. The shouting of the tenor
part on a forced upper thick register is most pain-
ful to the ear, and a fruitful source of flattening.
The First Bass, or Baritone Voice may be dis-
tinguished from the second bass by its not possessing
fulness below C-one (Cj), or B-two (B 2 ). Such
voices seldom have the proper tones of the thin
register, but they often find it a relief to employ
that register as an optional one, instead of the
higher two or three tones of the upper thick
register ; it saves them from straining and flatten-
ing. The second Bass is distinguished by its full
robust tones on A-two(A 2 ),G-two (G 2 ),F-two (F 2 ),
and even lower. In the upper part of the voice it is
St. Co. (New.)
not very dissimilar to the baritone. Those basses
which have the so-called bass-alto or " head- voice *'
generally (though not always) of a shrill and
screamy character, are advised not to use it. The
examination of voices, here recommended, cannot
occupy less than from fifteen to thirty minutes for
each person, and should be regarded as a separate
private lesson of great value to each pupil.
Compass. It will be noticed that in these
instructions for the classification of voices, we have
avoided any reference to compass as a criterion of
judgment. This is not only because we are thus
free to secure the best quality and the best volume
for each "part," but because of the great injury
done to voices by the habit of singing beyond the
range of their proper part. Teachers and psalmody
conductors are specially exposed to this danger.
They wish to show other people the right tones
and are careless of the manner in which they pro-
duce them. Previous teaching by quiet pattern
is really a quicker, as well as a better way, of
reaching the desired result. f Some highly trained
solo singers may with impunity cultivate a great
range of voice, but others are found to injure the
tones of their proper compass by going much out
of it. When the more minute classification of
" parts " is required (each of the ordinary four
parts being divided into first and second), it may
be useful to note that few composers go beyond
the limits marked on " The Voice Modulator,"
p. 106. The highest men's voice, the counter-
tenor, and the lowest women's voice, the second
contralto, coincide ; they sing the same part.
From this point upwards and downwards the
common compass of parts rises and falls by thirds.
The Causes of Flattening are 1st, Physical
Weakness. In this case the singer should restrain
his enthusiasm for the sake of others, and sing
softly, and listen. 2nd, The forcing of the Upper
Thick Register in the higher part of men's voices
which is immediately cured by the cultivation of
the thin. 3rd, Breathiness of Tone and other
defects in various parts of particular voices. 4th,
Defects of Ear, to be cured by long and atten-
tive listening, and by study of mental effects.
5th, Careless and lax-delivery of Piano or
violent and coarse delivery of Forte, which can
easily be avoided. 6th, Habitually singing with
" tempered " instruments, with their flat fifths and
sharp thirds, putting the ear out of tune. 7th,
Sympathy with bad singers who are near, and
inattention to the leader. 8th, Bad posture in sing-
110
FIFTH STEP.
ing. 9th, Neglect of breathing places, and the
consequent exhaustion, and 10th, Worst and com-
monest of all want of interest, and its consequent
drawling delivery. The teacher should make
the maintenance of pitch a distinct object of his
care, and should call the attention af his pupils to
it, often testing them at the end of a piece. The
close of one verse and the beginning oi another is
the commonest place for inattention and, therefore,
for flattening. Let the teacher beware of it. If
he is acting as a precentor, let him make his voice
heard on its effective tones, especially at the start-
ing of the lines. An organist may maintain the
pitch without playing loudly, by a skilful manage-
ment of the more piercing stops. A cadence
(78 to D) delivered at a high pitch in an interlude,
will impress the ear better than the loud roaring of
the lowest tones.
Solfaa-ing the Break. Tenor singers should, at
this stage, be required to mark the places at which
it is most advisable to change from the thick to
the thin, and from the thin to the thick registers.
See p. 68 ; but note that when the registers are
well equalised, so that the change from the one to
the other can scarcely be noticed by the hearer, it
may be better always to change at one point of
absolute pitch, instead of trying to suit the musical
phrase ; this is done by some of our best singers.
Each pUpil should study the capabilities of his own
Toice. Other voices, as well as the tenors, should
form a habit of "Solfaa-ing their breaks" as soon
as the key is pitched. Thus, for example, a second
soprano, with a bad "upper thin" tone on one-F
(1H), who is advised to cultivate her "small" regis-
ter on that tone, should learn to calculate the Sol-fa
note on which it will fall. While Key C is being
pitched, she calls to mind that the note she has to
watch is f ; while D is pitched, she thinks of her
re and m ; while E is pitched, she reminds herself
of de and r, and so on. Mark the optional tones,
and the places of change in the manner adopted in
Exs. 170 to 175. See questions at close of this step
No. 73.
Sixths, Eighths, and Ninths of a Pulse are
very little used except in instrumental music. The
Eighth* of a pulse are thus named, tanafanatenefe>ie,
:1 1,1 1.1 1,1 1 1 . The Exercise of singing them to the
teacher's beating, quicker and quicker, will be very
amusing to the pupils, and will greatly help to
refine their sense of time divisions. There are two
ways in which a pulse may be divided into Sixtht.
It may first be divided into thirds and then the
St. Co. (New).
thirds into halves thus taataitee, tafatefetijt,
:1 1 ,1 1 ,1 Ij which we may call thirds-sixes," or
it may be first divided into halves, and then the
halves into thirds thus TAATAI, tarnlaterele,
:1 1 1 .1 1 1 | which we may call " halves-sixes."
The Ninths suppose the pulse to be divided into
thirds, and then each third into thirds again, thus
taataitee, taralatereletirili, :1 1 1 ,1 1 1 ,1 1 1 1 . It
will be a useful exercise for the teacher while
beating time to call for " halves," " quarters,"
"eighths," "thirds," "thirds-sixes," "ninths,"
"halves," "halves-sixes," and so on.
Eare Divisions of Time. It will be useful here
to give the notation for some of the less common
rhythms. When a pulse is divided into a quarter
tone, a half tone, and a quarter tone, it is M-ritten
thus | t ,1 .,s : or better thus | t ,1 .-,s : When a
pulse is divided into a three-quarter tone and two-
eighths, it is written | r ,,mf : When a pulse is
divided into a three-eighths tone, an eighth -tone,
and a half tone, it is written j d,-r.m : When a
pulse is divided into a half-pulse continuation, and
Q
three halves -sixths, it is written : - .fmr | In
instrumental music, especially for strings, it is some-
times necessary to divide a pulse into less than an
eighth when the same tone has to be very rapidly
repeated ; in this case we place as many dots over a
note as the parts into which it is to be divided. In
the instrumental score of "Hallelujah to the Father,"
from Beethoven's Mount of Olivet we find a half-
pulse divided into six and another into nine ; they
would be written as follows :
.sltd'r'm'l
.n'r'd'tlsfnrll
These exceedingly rare cases of rhythmical division
require careful examination before they are sung,
in the Common Notation as well as ours. It will
be perceived that the Tonic Sol-fa Notation does
not make any lower division of the pulse than
that into eighths, and that division it indicates
by the simple absence of a mark. The occasional
practice of writing, in the Established Notation,
two measures as though they were one (See
"What is a pulse?" p. 66), makes it necessary,
in that Notation, to have a more minute sub-
division of pulse. In the Tonic Sol-fa Notation we,
in Buch pieces, put two measures for each one of
the Established Notation. We find, practically, that
this mode of writing secures a more ready appre-
ciation, and a more exact execution of the time.
Ex. 233. KEY E(j. M. 96.
FIFTH STEP.
GIVE UNTO ME.
Ill
Gebhardi.
i s :- |1 :- .t d 1 :-
' Give un - to me,
: 1 :
Id 1 :- - :- It :-
spi - rit
. if . __
The
li it, .d |r .d :ti .1 ( s (
:t
made
Bb- t.
d'f :d
of self
df, :-
Give
: |n
. con -
:1, .t, |d
1 :t .d |r'.d':t .1 s :1 .t ,
low
.
sac
H. :- .1
un - t
:f .n r
ly wise, The '
:ri |s :- '
ri - fice;
d :- - :t, I
o me, made '
:n .f is :f
n - de
t ;d'
truth, Thy
d :
fice,
And
n :n
light of
the
n :1
nee of free - dom |
rit
11 :- - =1 j
bonds - - man '
:d t, :d .r (
low ly wise, The spi
"it :s |d' : :d' 't :t
1 give, And in the light of
) dg :s |s :n r :n .f s .f :n .r
1 of self - sac - ri - fice, self
|se :se 1 :- .1 |d' :- .1
let me live, And in tl
n .r :d .t| 1 ( : ll :
- sac - ri -
.1 n l : _
le light,
s :- .f |
in the
light, In
|s :f
bonds - man
d 1 :-
live,
n :- I
live.
self - sac
f :- .f |1 :- .t
in the light of
f :- If :-
truth And
It :n' 1 :r'
light of truth, Thy
f
.8 .f y
me live
in the light of
de : | :de
in the
ri - fice ; And
d 1 :- :d' - :t
truth, In the
n :- .r |d :d r :s
in the light of truth, Thy
is :d' d 1 :- |t :-
bonds - man let ma
:n r :1 |s :f
Thy bonds-man let me
let
:s
And
And
St. Co. (New.)
112
FIFTH STKP.
f
truth,
r
light
:f
s :s
Is
:r
n
Thy
:r
bonds-man
t, :-
let
1
me
:t,
live,
d
of
truth,
Of
truth
: I
Thy
:n
Thy
bonds
f :
bonds
It :-
d 1 :-
in :
r :
IS
man
let
me,
let
me
|r : In :
Id :-
d :
It,
man
let
me,
let
me
n
live.
d
live.
PRAISE TO OUR GOD.
Rinck.
s :s .s |s :d
* Praise to our God and
f : , :
Praise to our God
f .s :1 i :
d 1 :t | :
glo - ry,
r :r .r |r :s
Praise to our God and
t .de 1 r'.n" :f
s :s .s is
:1 .t
d'.r'in 1 | :
flo - ry, I
:d .d |d :r .n\
Praise to our God and
r' | :
Praise to our God and
f :n I :
glo - ry,
- .n 1 :r> .d 1 t .d 1 :
and
d 1 :-
glo
f .r :n
glo - ry,
r :r .r |
Praise to our
- |t :s .s
ry, Halle-
.f |s .f :n .r
and
r :n .fe
glo - ry,
s .1 :t |- .1 :s .f \
glo - xy,
s :s .s |s :d
\ Praise to our God and
j n .r :d | :n .n
God and
n'.r':d'.t |1
glo -
Halle-
B :f .n
ry, and ,
r'.d':t .1 |s :s .s
lu - jah,
d :d.d fl .
lu - jah, Halle-/
r :r .r |s .f :n .rt
, glo - ry, Hallc-
d' :- |- :t
lu
d 1 :-
jah,
n :-
jah,
- | :s .s
Halle-
1 ;n .n
jah, Halle-lu
1 :1 1
lu - jah,
f :f 1
:t .t
Jlallc-
:r .r
jah, Halle-lu
d 1 :- Id 1 :
lu - jah !
n .f :n .r |n :
In
n :d .d |f .1 :s .f
( jah, Ilallo-lu
Ex. 235. KKY Bb- M : 96.
'S\ | : 1 . t
Love thy
: I :
St. Co. (Xev>).
LOVE THY NEIGHBOUR.
d :ti |d
neighbour as
thy-
self,
Love
thV
J. Mainser.
I :
fi :n. If,
neighbour as
thy-
FIFTH STEP.
113
:f i :n
r :- .d |ti :d .r
n : | :r
f. Eb- /- is C.
d s :n | : ba.se
Love thy
li : is, :
neigh - - bour
as thy -
d :t| |d :S|
self, Love thy
i,n : |r :
self.
1 :se |1 it
Love thy
d' :t jl :se
neigh - - bour
1* CP 1 T*'
* oC | 1
as thy
-.d':t .1 lse.1 :t .d
neigh - bour
d :n | : ba.se
as thy
1 :se |1 :t
self, Love
d' :t IPI :
thy neigh-bour,
'
self, Love thy
neighbour as thy -
self, Love,
-
:n
in 1
Love thy neigh
:se |
Bb.t
rl
rr'.d 1
It .d 1 :r'.t
d '. t
Love
If
:s
thy
:n
thy
f :s
.f
|PI
bour
:d
bour
hour
-.d':t,l
as thy -
|se.l :t.se
self,
1 :s
neigh
r :t
-
Id"
Love
thy
neigh-bour,
Love
neigh
-
-
sd
:
Iti
:
d
1
as
t,Pl,
:1,
thy
|S|
:f~i
self,
"I
self,
:d, |-
Love
rri.Pi,
as
thy
thy
Love
thy
neigh-bour, Love thy
|d
:r
neigh-bour as thy -
Pii :s | ! :t,
ueigh-bour as thy -
self,
d
self,
:
si :
n :r .d
Love thy
Iti.d :r .n
r > s,
Love thy
|s :
r igh :f
thy
:f .n |r .n
:f .r
thy-
:r ,ti
neigh-bour,
1 :-
bour as
f .n:r .d |t,.d
Love
-
- -
neigh-bour as
thy-
n :r | :r .r
n :r | :r .r
n .:r |S| : .
:l : .t| id :r
self, Love thy
neigh-bour, Love thy
neighbour, Love,
d :si | :.
Love thy
self,
n :r |n .s :f .n
PI .r :d .r |n :r
d :s, |- :l,.t,
Love thy
d :r |n :f
neigh-bour, Love thy
d :tj |d .n :r .d
neigh-bour as thy -
S|.f,:ni.f, |s, :f.
self, Love thy
PI, : |S| :
neigh-bour, Love thy
:l|.t| id :r
neigh-bour,
Love,
Love thy
i d :t, |d .n :r .d si.f,
\ neigh-bour,
s :n | :r.,r
neigh-bour, Love thy
n :d | :t : .,t|
neigh-bour,
St. Co. fNewJ
n .n
neigh-bour
d :tai
|.f :r
d : |t, :
as
thy
d :- |- :
self.
114
FIFTH STEP.
QUESTIONS FOR WRITTEN OR ORAL EXAMINATION.
DOCTRINE.
1. Describe your own voice. What
if its easy compass its quality and
volume in each register its host
region ! By what name is it called ?
p. 81.
2. Under what name is the chord '8
disguised, by notation, in cadence
transition to the first sharp key ! How
is the same chord disguised in passing
transition to the first flat key ? How do
you know when the chords ~f''R, and
''I) are transitional, and when they are
chromatic ! p. 83.
3. What are the three principal
things -which intensify the mental effect
of particular tones in a tune ? p. 83.
4. When any particular tone of the
iseale is strongly emphasised through-
out a tune or part of a tune, how is
this fart described in words, and in
what parts of the world is modal music
till used in the greatest variety.
5. Which are the modes with a
major third above their principal tone
or tonic which are those with a minor
third ! Of the major modes which is
the one almost exclusively used among
Western nations ! Of the minor modes
which is the one exclusively used in
:;onnertion with modern harmony ?
: 1 1 1 1 historical changes through
which the tune Dundee or Windsor
has passed. What is the mental effect
of tin- introduction of itl and what
is the difficulty which, especially in this
tune, it occasions the singer 1
6. Why is the Ray mode peculiarly
suited for worship ? what is the pecu-
liar cadence which distinguishes the
Bay mode from the Lah mode I p. 85.
7. What is the chief principle of
modern harmony ! In what respect has
the Doh mode better chords for its
Tonic, Dominant, and Sub-dominant
than any other mode ! What kind of
rlini-d dm > the ear object to when two
ue.h chords occur consecutively among
the last four chords of a cadence ?
8. How did the first harmonists
overcome the difficulty of three minor
chords in a cadence of the Lah mode J
What is now found the most satisfac-
tory arrangement for introducing
variety in this cadence T p. 86.
9. Where does the tone bah stand,
Mid how is it related to it 1 Why is it
introduced ! How manv alternative
tones are there in the modern minor,
and which of them is most used ?
10. Describe the six chief difficulties
St. Co. fNf- )
| which arise to the singer from the in-
troduction of se and bah in the niiuor
mode. p. 86.
11. Using the words Tonic, Domi-
nant, Super-tonic, &c., as indicating
the "Chord Relation," what is the
chord relation of minor LI of minor
Dtof *vMiot minor T1 of SKI
of BAH and F1 of minor ft 1
How do we distinguish the chord names
of the major from those of the minor,
mode in writing, and how do we dis-
tinguish them in speech T
12. What is meant by the word
Modulation ? What are the commonest
modulations from major to minor, and
from minor to major t -p. 88.
13. What is meant by Transitional
Modulation ? What is the commonest
change of this kind, and what new dis-
tinguishing tone does it introduce ?
What other change of this kind is
common, and what distinguishing tone
does it introduce !
14. What is the meaning of the
word Accidental, and how are acci-
dentals expressed in the Tonic Sol-fa
Notation ! p. 88.
15. Describe six cases of very rarely
occurring sharps and fiats with the
names given to them.
16. What is the practice chiefly to
be avoided in chanting ? p. 94.
17. In marking passages for recitu-
tion what is the first thing which the
student should do, and what are the
faults he has to avoid in doing it ?
18. What is the great distinction
between the recitation and the cadence
of a chant ? What kind of pulse should
always come before the beginning of a
cadence T What kind of pulse should
always come after the end of a cadence ?
What relation should there be between
the speed of the reciting tone and that
of the cadence T
19. What is the difference between
the rhythms of public speaking and
private talk ?
20. In choosing chants, what are the
two blemishes which should lead a
precentor to reject some I
21. What re the principal elements
of expression in mane ! What are tho
common defects of singers who do not
study expression T p. 94.
22. What is the principal habit to be
formed in the delivery of tones ! and
for what quality of tone should we lis-
ten in out "vcn voice !
23. By what other names is a good
" attack " of the tones described ? Give
illustrations of its importance. Des-
cribe generally the sensations which
accompany it both in the larynx and
the mouth. p. 95.
24. How do the breath and glottis
act together in the clear attack ? in
the gradual or breathing attack ? in
the check .' in the jerk J in the slur !
What is the difference between a slur
and a glide ?
25. What is meant by a clear Re-
lease of the Tone, and what is its
importance !
ilii. Describe the manner in which a
teacher should introduce his first exer-
cis.-s on the degrees of force. p. 96.
27. What are the names and signs
for a long tone, or a phrase increasing
in force .' diminishing in force ? first
increasing and then diminishing ?
28. Describe the Pressure and Ex-
plosive tones.
29. Describe the Staccato, the
Detached, and the Legato styles.
30. What are the two considerations
which principally guide us in applying
various degrees of force to music !
31. How is it that it is possible for
classes to go on singing a large quantity
of muiic without really learning
anything .'
32. What points in a tune have to
be considered with the view of deciding
whether it should be sung loudly or
softly, or with a moderate degree of
force \ -p. 98.
33. How should a true piano be
sung!
34 . How should a real vibrating /ork
be sung'!
86. what is " phrasing " t Show its
importance. Mention three or four
ways in which musical phrases can be
marked off, and distinguished by the
singer.
36. What is usually the best form
of force in ascending passages, and
why !
37. What is usually the best form
of force in descending passages, and
why?
38. How should Repeated tones be
delivered, and why ?
39. How should prolonged single
tones be delivered, and why !
40. What is the best way of ' setting
off" the inu<ical imitations in a
melody ? p. 100.
FIFTH STEP.
115
41. How should the entrance of a
" part " previously silent be treated T
42. In -what two cases should any
of the parts, in music, be subdued and
subordinate ?
43. How should accompaniment be
delivered ?
44. Describe the three ways of pro-
ducing what is called a humming
accompaniment. What should be
specially noticed in the imitation of
natural sounds ?
43. What are the tones of the scale
most congenial to a quick and stirring
tune, and what to a slow and solemn
time ? In what ranges of his voice is
each singer able to make his tones
most effectively heard in the midst of
the harmony ! p. 101.
46. If in the harmony a singer finds
a tone placed in an effective part of his
voice, which is congenial with the sen-
timent he is singing, how should he
deliver it ?
47. How should rapid passages and
runs be sung, and when such pieces are
sung in chorus, what point is it impor-
tant to notice 1 In the management of
the breath for a run, what point has the
singer to notice at the beginning, and
what at the end t
48. What kind of feeling is naturally
expressed by the explosive tone, and
what by the pressure tone ? Which of
these forms of tones is the exaggeration
of the legato style, and into which of
them does the staccato naturally break
out ? p. 103.
49. In what manner should unison
passages be sung, and what should each
singer strive to do ?
50. In what style should cadences be
sung, and why ?
51 . How should distinguishing tones
be sung, and why ?
52. In cases of dissonances, what
should every singer know in reference
to his own part ? How should the
resisting tone be sung, and how the
phrase which contains the dissonating
tone I p. 104.
53. Why is it difficult to parse the
rhythm of pieces in which there are
f ugal imitations ? What is the name
given to a fugal imitation which has
been heard before, but which now
follows its leader sooner ? p. 104.
54. Describe the highest register of
female voices. State the pitch at which
they pass into it. What is the name of
this register 1 Why should contraltos
generally refrain from using it '! p. 105.
55. What is the highest pitch which
classic choruses require the first Sopra-
nos to sing ? What is the highest pitch
which should be used in church choirs
where the congregation does not join ?
What is the highest pitch that can be
expected fromx:ongre"gations ?
66. What kind of voice will some-
times find it a relief to sing one-F (F 1 )
in the small register ?
67. Describe the lesser breaks of the
voice. How, and at what pitch-sound
are these manifested in female voices ?
How in male voices ?
68. What registers are commonly
used by men in ordinary speaking, and
what by women ? What is the conse-
quence of these habits on the singing
voice 1
59. What is the mechanism of the
Lower Thick register, and what are the
physical sensations felt in producing
it i
60. What is the mechanism and sen-
sation of the Upper Thick register ?
61 . "What is the mechanism and sen-
sation of the Lower Thin ?
62. What is the mechanism and sen-
sation of the Upper Thin ?
63. What is the mechanism and sen-
sation of the Small 1
64. What points are noticeable in
boys' voices when compared with voices
of women 1 What course should be
taken at the " change of voice ? "
65. Name the four "principal parts"
into which voices are most comm&nly
classified. What other " parts " are
sometimes required ? p. 108.
66. Describe the manner in which
voices are examined and recorded.
67. What are the characteristics of
first Soprano ? What of a second
Soprano ?
68. What are the characteristics of
a first Contralto ? What of a second ?
09. What are the characteristics of
a first Tenor ? What of a second !
From what class of men's voices
do we get the most agreeable tone*
in the upper thin register ? Give two
powerful reasons why basses should
not use this register.
70. What are the characteristics of
a first Bass ? What of a second ?
71. What are the two reasons why
in classifying voices you do not take
compass for your guide ? In what
choral part, as in Handel's choruses, do
the voices of men and women coincide,
singing identical tones ? In men's
voice music, what is commonly the
highest tone of first Tenor, and the
lowest of second Bass? In women's
voice music, what is commonly the
highest tone of first Soprano, and
lowest of second Contralto ?
72. State all the causes within your
knowledge of "flattening." Mention
anything you think likely to prevent,
arrest, or correct it. p. 109.
73. Mark in the heading of Exs
188 to 191, 193, 195, the Sol-fa names of
the optional tones, at the command
of a tenor voice, mark also the places
at which you think it desirable to
change the register.
74. In what cases may singers form
the habit of changing the register al-
ways on the same tone in absolute
pitch 1 In what cases should other
than tenor voices study carefully their
optional tones ?
75. What are the chief uses of
sixths, eighths, and ninths of a pulse in
music ? How are eighths of a pulse
named and written ? How are third-
sixths of a pulse named and written !
How are half -sixths of a pulse named
and written ? How are ninths of a
pulse named and written 1 p. 110.
76. Give the Time names for the
following :
:t ,1 .-,s I! :r . ,m f y
:d,-r ,m
PEACTICE.
77. Hold a steady tone with one i the Exs. 177 to 179 whichever the
breath for twenty-four seconds.
78. Sing with a beautiful forward
quality of tone, to the Italian lah.
Ex. 176.
79. Analyse the harmony of one of
teacher chooses.
80. Give an example different from
those quoted of increased intensity
given to the mental effect of a tone by
accent by cadence by the interval of
St. Co. CNew.J
a fifth or under fourth.
81. Write from memory or sing tn
three versions of the tune Dundee or
Windsor. p. 84.
82. Draw from memory the diagram
which shows the difference between the
116
FIFTH STEP.
Ux. 236242.
Ijih mode and the Ray mode. Write
and sing the tune Nowell in the Ray
mode and also in the Lab mode.
83. Laa from the teacher's pointing
on the modulator all the exercises given
in the paragraph " Difficulties of the
singer." p. 86.
84. Name the tones of the minor
mode which belong to the following
chord relations: Tonic, Sub-dominant,
Dominant, Super-tonic, Leading
Tone, Sub-mediant, Mediant.
85. Analyse any one of the chants,
Exs. 181 to 186, which the teacher may
require.
86. Point out examples, without
having to look for them, of modulation
to the relative minor, and of modula-
tion to the relative major. p. 88.
87. Point out examples, without
having to look for them, of transitional
modulation to the relative minor of the
first flat key, and to the relative minor
of the first sharp key.
88. Sing with correct time, tune, and
expression, one of the Exs. 188 to 195,
selected by the teacher.
89. Taa-tai on one tone the recita-
tions of Kxs. 177 and 178.
90. Mark the following passages of
scripture for cadence and recitation.
Psalm 1, 8, 20, 84, 93, 98, 149.
Isaiah. 12.
91. Deliver the vowels aa, ai, and ee,
as forward in the mouth as possible,
and with the best quality of voice you
can produce. p. 95.
92. Deliver the vowel aa, with clear
attack, with breathy or gradual attack,
with the check, with the jerk, with
the slurred attack.
93. Sing the vowel aa, and end it
with a clear release. p. 96.
94. Perform any one of the Exs.
197 to 201, which the teacher may
select.
96. Select from memory and sing a
crescendo passage, a diminuendo pas-
sage, a swell passage. p. 97
96. Sing Ex. 202.
97. Select and sing a passage with
staccato tones, with detached tones.
98. Select and sinf a legato passage.
99. Sing a tone with medium force
of your voice, forte, piano ; with
which degree of force should the fol-
lowing pieces be sung through the
greater part of their extent I Ex. 134,
141, 144, 188, 192, 194.
100. Select and sing a passage with
true vigorous piano. p. 98.
101. Select and sing a passage with
clear vibrating forte.
102. Perform in the presence of the
teacher any one of the Exs. 204 to 210,
which he may select.
103. Select and sing an ascending
passage in the proper manner. p. 99.
104. Select and sing a descending
passage with proper expression.
105. Select and sing with proper ex-
pression a good example of repeated
tones.
106. Select and sing a good example
of the prolonged single tone.
107. Select and sing a good example
of imitations in melody.
108. Select and sing a good example
in which the marked entrance of a
" part " is required.
109. Select illustrations of subordi-
nation of parts, humming accompani-
ment, and imitative sounds.
110. Perform in the presence of the
examiner one of the Exs. 211 to 214,
chosen by him.
111. Perform any one of the exer-
cises 222 225 which the examiner may
select.
112. Perform any one (chosen by the
examiner) of the runs named in the
paragraph " Bapid Passages," with
proper delivery and proper manage-
ment of breath.
113. Select and sing a good example
of the Explosive tone, of the Pressure-
tone.
114. Sing a Unison passage with
some other voice in perfect blending and
unanimity of attack.
115. Select and sing a cadence in a
proper manner.
1 16. Select and sing three different
examples of distinguishing tones.
117. Select and sing two different
examples of dissonances, your teacher
holding the resisting tone.
118. Describe or parse Exs. 194, 190,
or 197, which ever the examiner
chooses.
119. If your voice is soprano sinjr
two tones, at least, in the Small
Register.
120. Show, by singing, the place of
the lesser break or breaks in your own
voice, and what part or parta of the
music you can sing best.
121. If you are a tenor or contralto
singer mark, in presence of the ex-
aminer, the optional tones and the best
places of change in any one of the Exs.
174, 175, which he may select.
122. Tell your examiner what are
the 8ol-fa names of your optional tonos
in key C, F, B flat, E flat, O, D.
A,
DICTATION J5XERCISES.
NOTE, that TAA standing alone may be used to indicate a whole pulse, and that after the first measure
the accents are not necessarily marked by R and L. Observe also octave marks, p. 29.
f, TA.A.SAI 1 SAAlM. 8 TAATAI S, TAA d.
Ex. 240. TAA 8 aafatefe 1, s, 1 tafatefe
and TAATAI d,
d saataitee s
Ex. 236. Write in correct time TAAtefe d, r, m
TAATAI f m, TAA r, TAA d ; and tafaiAi d, r, m
lafaTAi r, m, f, TAATAI m, r, TAA d.
Ex. 237. TAAfe 8, f, TAAfe m, r, TAA d,
TAA t-one TAAfe 1-one, r TAAtefe d, t-one, d
TAA r TAA d.
Ex. 238. tafatefe d, r, m, f TAATAI 8, m
TAATAI 1, 8 TAA one-d tafatefe one-d, t, 1, 8
tafatefe f, m, r, d TAATAI a, 8-one TAA d.
Ex. 239. TAATAI d, t TAA&4J m TAATAI
St. Co. (New.)
m
f
f, 8, f, 8 tafaxAi m, r, d ;
taataitee r, m, f TAATAI m,
taataitee m, r, d TAATAI r, d.
Ex. 241. SAATAi 8 tafaTAi m, f, 8
SA ^TAI s tafaiAi 1, t, one-d SAA-iM 8
TAATAI f, m TAAfe I, d TAA d.
Ex. 242. SAATAi d taa-aitee m, r -
taa-aitee d, t-one taataitee 1-one, t-one, d
TAA -AA 8.
117
SIXTH STEP.
Continuation of Chest, Klang, and Tuning Exercises. To perceive the Physical Facts and Mental Effects of
Two Removes in Transition, and to sing such a Transition. To perceive the Physical Facts and Mental Effects
(if Three Removes and to sing such a Transition. To understand Principles on which various degrees of Force
and Speed are applied to Words, and to make use of them. To practise the Phrasing of Words. To exercise
the Organs in sustaining voivel sounds clearly and correctly. To understand the Principal Forms of Vocal
Music. To understand the Resonances and their use. To exercise the Voice for Strength and Agility.
Chest, Klang, and Tuning Exercises. Exer-
cises for strengthening the chest, for the cultiva-
tion of a pure and beautiful klang and for the
exact tuning of the voices one with the other,
should still be pursued, at the opening of every
lesson. The various voice exercises in the begin-
ning of the last step and the minor mode chants in
three parts will answer the purpose well. The
teacher will choose the kind of exercise which he
finds his class requires. " Wall Sheets " will enable
the teacher to use more complex voice exercises,
while leaving him at liberty to walk among the
ranks of his class and superintend the posture and
vocal delivery of each pupil. See Nos. 21, 22, 23.
n I r ! s
r s a 1
t
a f
t 1
1 r s df
s d f
t n
Two Removes. Transitions to the
first sharp key or to the first flat key
(p. 50) are transitions of one remove.
But the music often passes over the
key of the first remove to the key of
its first remove ; this we call a transi-
tion of two removes. The teacher will
first lead his pupils to observe the
physical facts connected with these
removes. First, they will notice, that
the second sharp key raises the key
tone and with it the whole music a
full step, that it blots out f and d of the
old key and introduces in their place
m and t of the new key as marked in
the signature, and that, of the two
distinguishing tones, t is the more
important because it distinguishes
I the second sharp remove from the first.
Second, they will notice, that the second fiat key
depresses the key tone and with it the whole music
a full step, that it blots out the tones (which the
sharp remove introduced) t and m, and it intro-
duces, for the new key, the tones (which the sharp
remove blotted out) d and f, and that of these two
distinguishing tones, the f is the more important as
distinguishing the second flat remove from the first.
St. Co. (New.)
t n I r
I r s a
t
.t/.
t| n 1
These physical facts will prepare the mind for
observing in the exercises which follow, that the
second sharp remove with its raised d and its effec-
tive t is even more expressive of rising emotion
than the first sharp key, that the second flat remove
with its depressed d and its effective f, is even more
expressive of seriousness and depression than the
first flat remove. Compare p. 51. A transition of
two removes from the principal key (a principal tran-
sition) is seldom used except for imitation and
sequence. A transition of two removes from a
subordinate (not principal) key of the piece is not
uncommon and if the transition is from the key of
the dominant to that of the sub-dominant or vice
versa it is generally quite easy to sing. This kind
of " oscillation " across the original key keeps that
key in mind, and lessens the violent effect of the
two removes. See " How to Observe Harmony," p.
54, and the " Common-places of Music," p. 111.
THE EXERCISES. The following two exercises
should be done with great care, every transition
passage, being taught by pattern from the modu-
lator. No words are provided, in order that atten-
tion may be given exclusively to the various points of
difficulty in the transitions. Each part should be
first solfaad and then clearly laad. If, in teaching
the parts any difficulty arises, it is a good plan to
teach the first phrase of the new key separately
before the transition is attempted; for when the
pupil knows what is on the other side of the bridge
he crosses more boldly. This plan of introducing
transition is even more important when the parts
are sung together. Great assistance may be given
to the pupils by shewing them on the modulator the
first difficult interval or intervals which the new
distinguishing tones create, and by likening these
intervals to some others with which the ear is more
familiar. The pupil must not begrudge any
amount of patient care required in mastering these
transitions, for such transitions occur in every
classic work and sometimes very frequently. A
118
SIXTH STEP.
good study of the modulator with a thoughtful
exercise of his voice will not only teach him
these particular tunes, but will shew him the way
to master similar difficulties in other music.
In Ex. 243 the transition to the second sharp key
becomes comparatively easy when the pupils realize
the exact imitation there is in all the parts. As
mentioned above, t~ is the more important of the
two distinguishing tones. If the third part strikes
it firmly and promptly the second part will have
little difficulty. In teaching the parts separately,
the ear is not assisted by harmony to establish the
new key ; it will therefore be useful to show on the
modulator what the notes would have boon in the
old key. Thus the third part would have de l t r
and the second part would have m de r. The
second distinguishing tone m is felt to be a little
sharp but is seldom a difficulty. This should be
traced on the modulator.
In Ex. 244 the difficulty of the " principal "
transition of two removes is again lessened by imi-
tation. The second distinguishing tone comes in
first, and then the second part strikes the first and
more important distinguishing tone. When the
second distinguishing tone is heard first the transi-
tion is easier to sing. It is something like taking
one remove at a time. But the second case, that of
a subordinate and "oscillating" two removes,at mea-
sure 9, is more difficult to sing because there is not the
same help from imitation and second because the first
distinguishing tone is first introduced. The next
transition has a perfect imitation note for note in
its second part, and in its first part there is an exact
imitation of the melodial waving of the previous
phrase one step lower. This last phrase would be
r f m r (two more flat removes) if it were not har-
monised chromatically, and so retained in the origi-
nal key.
Other examples will be found in " Additional
Exercises," p. 65 for imitation, pp. 68 & 72 for
oscillation and to give effect to the next transition,
and p. 83 a transitional modulation to the minor for
special effect, also to prepare effect.
Ex. 248 KEY F.
n :n .f |s :s d :r
d :d iti.r :d .ti l|.d :-
|n : 1 :t |d' :n
.t, |d f :f |s :d
r :- |d :-
d :t, id :
A ^ 1 1 m f 1
s r |n :
Id : f .n :r |n .r :d
O. t. m. f. C.
i s :r |n f d' :
s, :- |d :-
s |1 .t d 1
r t, |d :
T :ti |d d s :
n |f s .n
ti s, |d :
det, :s, |d i,n.r :
d |f .r n .d
r i _ |fli :_
f - |n :
f. F.
r'l :t |d' n r :
taf ; f |s d d :
Id
t, |d -
s, id :
Ex. 244. KBY F. M. 70.
P
' d :r |n :s
d :t, |d :d
taf :r in d s, :
s :n in :r n :
ti :d |d :ti d :
- |d
W. G. M'N.
s Is :f
d .tailli :li
di J
:S| Id :ni
St. Co. (NewJ
8, :d Si :BI d
n, If, :f,
SIXTH STEP.
119
cres. G. t. m.
' r :n |d
n :r |f
n
fen :r |f
n
ti :t, Id
s, :si |d
~~
d :t| |r
d :S| Is,
d
1,
'd :t, |r
r d :S| |s,
{
f. 0. /
(
L. f. Bb- dim.
' in 1 :s' If
r 1
1 :t Id 1
d'r :f In
r
1 dg :n If
1
r :s .f |n
H, :r |d
t,
[ ^d :de |r
f,
s, :si id
'si :s, |s,
8,
F. t. dim.
df :la |s
f
n :s |f
r
li :t, Id
i,r :f |n
i
d :de |r
1,
f, :s, |n,
l,r :ti Id
s.
1 * m 1 f
f.
r, :s, ]d|
OH, I'M THE BOY 'O THE MOUNTAIN".
Ex. 245. M. 80, twice. (Words adapted from UHLAND, by J. S. STALLYBKASS.)
l.The
2. When
S.But
s, :d
:n |s :n
herd
:d
be-
the
Moun
s :d
- tain Shep -
:n |s :n
thun
when
der clouds
some day
boy,
ir
am I,
t, :- :t, It, :-
low me crawl,
church bells ring,
Your
A-
And
lof -
1 :r
:f
ty
:f If
A. L. 0.
1 :- :s
tow'rs be -
:n
bout
vil
me stands
lage maids
a
ia
s :- :f in :-
low me lie ;
n :- :r |d :-
bright blue hall ;
gar - lands sing,
Here
I'll
Si :d :n
s, :d
the sun
:n |s :n
know
take
them well,
the tru
:d'
s :-
his
:d
ear -
ti :-
they
est
hear
for
Is :- :f
long - est
|n :- :r
fa - ther's
by my
n :-
while
d :-
cot -
own
:r |d :-
he stays.
:t, Id :-
tage wall ! "
fire-side.
f. Bb
rnt|
d :-
Oh,
ds,.f,
I'm
n, :-
I'm
more
Oh,
No
the boy o'
:n Is :n
d':-
I'm
n :-
I'm the boy o'
more the boy o'
-S7. Co. (New.)
the
the
the
s :- :f
Id" :-
tain,
tain,
tain,
id |s, :d
the boy o'
;HI |S, :n;
the boy o'
the boy o'
f. F.
11 d 1 :- :n |
the
:d I
the
No more the
:f |r :-
:1 s :-
:n ^
ly rays,
With me
the/
:t, it, :-
:f n :-
:d \
me call :
my bride,
" Oh spare
And sit
m y\
me )
C.
t.m.
:n n :-
:r |d :- :
det v
the moun
tain,
Oh, /
:d, sj :-
:f, ;n, :- :
!,.>
the moun
the ' moun
tain,
tain,
Oh,]
No/
n :-
s :r :f
boy o' the
t| .'t, :1|
boy o' the
boy o' the
n :- T jd :-
tain.
|fli \
tain,
tain.
moun
moun
120
SIXTII STEP.
Ex. 246. KEY C.
s : :s
Ho - ly,
:n :d
Ho - ly,
HOLY, HOLY, HOLY.
Telemann (1750)
1
ho
f
ho
. .1
':- >
ly,
ta : :1
s
iy,
:n .r
:d'
ho
8
":n :f~
Lord
:n .d
ho
- - ly,
ho -
iy,
:t .d 1 :r'
r 1 :d'
of
:s
of
n 1
:r' :d'
t
oth,
S
oth,
:s
Ho
- :l y '
Lord
r :- .n :f
God
n :
God
Sa
f
Sa
ba -
:- :fe
- - ba -
Lord
(I
d 1
:- .t
:d'
of
:n
of
r 1 .n 1
:f
God
:f
Sa
t, . :-
Sa
God
ha -
:d
ba -
r 1
oth!
S
oth!
:s .s,sl
Heaven and I
earth are full of thy
d 1 .s :d'
glo - ry full
f. C.
.f
of thy glo -
G. t.
:d'f.s,s
Heaven and earth are full of thy
1 .s,l:t .l,t
d 1 .s
glo - ry, full,
: d 'f j- .n,r:n
Hea - I - ven and earth
land!
f . F. L is D.
- .t,l:s .f
n .n,f : r'.n'.d'.r 1
t .d l ,r':n l ,f'.r 1 ,n l
d 1 . :*n .n,n
ba .m,ba:se.ba,se
of thy glo
r :- .r
ry. Ho - san
d .,r :nt .1
na! Ho - son
S -l.t:d .t
na ! Heaven and
1 .n ;lri
earth are full of thy
r
full, are
full, are
full of thy glo -
ry. Ho - san
.
G. t.m.
1 .n :*s
glo - ry, full
d :is..s.s
na !
Heaven and
.f
thy
1| .8j,l|:t| .l|,t|
earth are full of thy
f. C.
n
.n
: d s .s,s
1 .Sj.
:t
.l,t
d 1 .
s
:d'
glo
-T.
Heaven and
earth arc
fuU
of thy
glo-
i-y.
full
d
.8,
:d g
:f
.f '
n
:-
.f,s
glo
-ry,
full
of
thy
glo
- .r',n':f :
n 1 .d 1 ,r' :n' ,f .n',f '
r 1 .t ,d' :r',n' .r'.n 1
d 1 .1 ,t id'.r'.d 1 ,! 1
are full
1 :- .t
of thy fflo
d> :d'
ry, Ho - san
t .8 ,1 :t
na! Ho - san
1 :- .1
.
ry Ho
san
na! Ho-
St. Ci. (2feic.)
SIXTH STEP.
121
t .8 :d' - .t ,1 :t .t d 1 is
d : 1
ert.
! 1
est.
na in the high
s :- .f ,n r .r d :s
Ban na in the high
GOOD NIGHT.
Words translated by J. S. STALLYBRASS.
A. L. C.
Ex. 247. KEY A.
s, :- Id :
l.Good night!
2.Good night !
n, : In, :
[To illustrate chromatics.]
S| :d |n :
=
r
We
May
t, !
- .re |n :d
have fought our
the star - ry
- .1, |se, :1,
good night !
good night !
HI : Is, :
3.Good night !
, 4. Good night!
good night !
good night !
There's
Heav'n
an eye that
- ly Fa - ther,
s :- .f |n :
r :- ..de~[r :re
1 ..
-'
n :
^~.7"|d :s, \
dai - ly fight;
splen - dour bright
t, :- .t, |d :
knows no night ;
with thy might
Peace of mind and
Cheer the eye that,
t, :- .le|t, :1,
Child of man, while
Bless, and streng - then,
rest
sick
SB, :
thou
and
fromhea - ven j
withsor - row f
- .se,|l| :n, i
art sleep - ing,
re - store us, /
r :- .de |r :re
n r^~.r |d :si
f
s :
dim.
.fe|s :n
To re - ward our
Weep - ing watch - eth
ti :- .lei|t| :1|
toil are giv - en;
for the mor - row,
sei :- . sei 1| :HI
Noi
Star
n :
sy day has
ry splen - dour
- .re |n :d
Faith - ful watch and
For the new day's
ward 'tis keep - ing ;
work be - fore us,
There's
Heav'n
an eye that
- ly Fa - ther
n :- .re |n :
tak - en flight :
soft and bright !
s, :- .fe,|si :
wakes all night.
\ with thy might !
P
d : |d :
Good night !
Good night !
rii :- .re,|ri| :
PP
1|
- -Si |S| :
good
good
f, :
good
good
night!
night!
In, :
night!
night!
Good night !
Good night !
St. Co. (New.)
, : : | : s :f
il.On the woods there broods Deep re
mi" r\ + ll + +
'2. In the heav'nly land An - gel
n : |n :r d .ti
|n : n :r |d : :n |n : \
- pose, deep re - pose, Not one
No pain
|d : s, :f, |m : : | :d
s sing, an - gels sing, Not
No
:d ,1| |sei : - .seiil .ti |d :ti
breath stirs A - mong
or care Can en -
d .ti :d .1| |86| :- . sei li .se
the firs, And no ze - phyr
ter there, But sweet voi - ces
111 .ll |P1| '. ,n\ f\\ !I |Pl| !l'|
one breath stirs A- mong
pain or care Can en -
the firs, And no ze - phyr
ter there, But sweet voi - ces
F. t. .=
1, : | : .'et, d .,r
blows. The birds
ring. On earth
blows,
ring.
; . ta d'|d' .d 1 :d' .t,l
The birds ha ve ended their
On earth we soon end our
d .,r :n |n :- .r,d
birds have all end - ed their
, earth we must soon end our
Hi : t '.-flS
> d.f. E b-
:n |s :- .f,n r : | : \
iave all end - ed their song, j
we must soon end our song,
: .|d|n .n :n .r,d ti : 1 : ,i,tl
The birds have ended their song, The]
On earth we soon end our song, On/
se : I : 8 :- ,n ,d'
song, Wait a-
song,
ti : | : ti :- ,d ,n
song, Wait a-
ong,
/ F. t.m.
|r : is :- ,n .d 1 |s : >
\ while, ere
i in : r :- ,d ,r
long, Wait a - while,
Iti : dti :- ,d ,n m : (
( while, ere
St. Co. (NewJ
long, Wait a - while,
SIXTH STEP.
123
ere
r
|r
long.
It,
long,
f. Bb-
: '1,
l
Thine
: ta if|
eye
n,
Thou'lt
with
d
si |li :ti
shall gent - ly
s, |fe, :f,
close,
HI
the an - gels
sing,
rail.
S|
Thine
Thou'lt
Si :- ,fe,,S||l|
eye
n, :-
shall gent
,rei ( P1| |f|
with
the an
* d f '
t n'Z
r s
Three Bemoves. Almost the only cases of three
removes are those of three flat removes with modu-
lation to the minor, or of three sharp removes with
modulation to the major. In these cases the
similarity of the upper part of the two modes (m
ba se 1 and s 1 1 d') assists the ear in passing over from
one key into the other, especially if that form of the
minor mode containing bah is
used. The third flat remove is
the more difficult to sing simply
because the minor mode into
which it enters is itself artificial
and difficult. The third sharp
remove is the less difficult,
because the major mode into
which it enters is more natural
to the ear. The Physical
Changes, therefore, made in
three removes, vary with the
varying use of bah and se.
They may be greater or smaller
than those of two removes.
The Mental Effects are obvious,
for a modulation from major
to minor and a flat remove
together naturally produce a
gloomy depression of feeling,
and a modulation from minor
to major combines with a sharp
remove to produce a strange
kind of excitement.
t n I r 1 s d f
t n
1 r s d 1 /
se t m I T
s df
ba t n 1 r s d
f se t
n I r B d f
ba t m I
T s d f
t n I
d/
t m
r s
s df
t n
1 r s d/
se ti n I r
s df
ba t n 1| r s d
THE EXERCISES. In the same manner as above
the teacher will shew his pupils on the modulator
that in Ex. 249 the transition to the third sharp key
is not very difficult, first, because it moves to the
St. Co. (NewJ
gels
close.
n
sing.
more familiar and more natural major mode, and
second, because the second distinguishing tone (m)
enters first, after that the third (1) and the most
difficult (t) last of all. In teaching each part
separately it may be well for the third part to
remember that f m is the same thing as r de of the
the preceding key, and for the second part to
notice d 1 fe is the same as f t,. All three parts
should hold out the d its full length in order to get
it well into the ear before taking the new transition.
The section in key C should be practised separately
before it is united to the previous section in E (7.
This also should be the case with the section in key
B \), which is difficult, being a sudden remove from
the major to the artificial minor. Although the
distinguishing tone of the second remove (f ) comes
late, it is only an alternative tone with bah, and so
is awkward to sing. This tune contrasts very
plainly the natural boldness of the "relative major "
and the cold brightness of the "tonic major." In
Ex. 250 the transition to the minor of the third
flat key is very difficult to sing, first, because it is
to the minor, and, second, because it introduces the
" alternative tone " (f ) so early. If the third part
sings f, f correctly and boldly, the second part will
have no difficulty. In learning the third part
separately it may be well to remember that
:li |fi :f .n|r islike :ri |d rd'.t I 1 of
another key. It may scarcely be necessary to note
that, in the second part, d r f is like ma f la of the
previous key, and in the first part m 1 is like s d'.
Other examples may be found in "Additional
Exercises," pp. 78 & 94 for special effect, p. 86 for
subordinate transition and return, and pp. 79, 84
& 92 for returning transition.
124
SIXTH bTEP.
Ex. 249. KEY Eb-
W. G. M'K.
I :se |1 :t d'.t :- .1 |se :n
d .n :- .n |n :f n .r :n .f |n :n
s :s "I :t
n :n |f :f
d :ti |d :r 1 .t :d .r In :d
| :n 1 se |1 :t
| :d d .n - .n |n :f
d :d if :r
C. t. m. 1.
d .t :- .1 ise :"i8
n .r :n .f |n : m s
| :d .t, 1, ti |d :r
1 .t :d .r In :*f
^ / d 'd f .- Bb -
r 1 |n' :r d 1 : d 'r
1 [d 1 t jd 1 - |- :'e se|
f |s :s, d | :rn.
iHCZ.
d :ti (I, :se,
HI :n ( |f| :ni .r, '
f. Eb. p
ti .d |r :rl d :t .1 It :se
1 :- 1-
f, .1, |se, :l|n f :f .1 se :n
.r d : |-
r ( .ni ifi : f |d.t| 1 ( :r .f |n 'n.
li : 1
n |
(| - i-
-==
d 1
s
n
Ex. 250. KEY C.
s :s .s 71 Id 1
s. d.
~-=^
s :s |s
-=c
n
. L is C.
1 rl.sell :d'
di
t
W. G. .
C. t.n
m. ~^^z
("s
ifty.
1. 1.
==-
\
j
n :n .n |f ;n
r :n .f |n
mad
.r :f if :n.l
se
|"s
c !
d :d.d If :d
ti :d .r |d
d l|
fi :f .n ir :1,
n
l n |S|
s :s7s~jT :d'
^==~
s :s |s
-=
86
d 1
1-
n :n .n |f :n
r :n .f |n
n
f :f~|s :-.f
n
1
d :d.d |f :d
ti :d.r |d
d
f :fe Is :si
d
_ 1 l
1
Ex. 251. KEY C. Andante.
THE LULLABY.
s :- .s |1
:s d 1
:- .r' |d'
:t n 1
Peace - ful slum
n :- .n |f
b'ring on
:n n
the o
:- .f in
cean, Sea
:r s
St. Co. (New.J
A. L. C.
:- .r 1 jd 1 .t :d' .1 ,
- men fear no danger '
:- .f |n .r :n .fe)
SIXTH STEF.
125
s :
I ' s
* Q t 1 * <S
0(1 o
d 1
:- .r 1 |n'
:d'
nigh,
S . ~
I- .f :PI .r
Winds
PI
and waves in
:- If :-
gen
PI
tie mo
:- .f |s
tion,
The winds andi waves
in
gen
tie mo -
tion.
s :-
.n |1 .1 :s .fe
rit.
S
PP
: |f .n :f .s
n
: i
II
Soothe
PI :-
them with their lu-la-
.d If .f :PI .re
by,
n
lul -la, lul -la-
: |r -d :r .ti
a ky '
: 1-
: 1
s.d.f. Efr. J
.n |f :n
d 1
:- .t |1 :se
n
:- .r |d .t,
:d .r \
1. When
ma d :-
the wind tern -
.d ir :d
pest
PI
uousblow - ing,
:- .r |d :t|
Rolls
PI
the billows mountains'
:- .r |d .ti :d .r \
2.'Neath
CA ._ 1
. t.in.l.
a hea - ven
1 :
black
S
and scowl - ing,
Trust
ing One a
bove the/
:- .s |1 :s
d 1
:- .r 1 [Pi 1
high,
I- .f :PI .r
Still
They
n
no fear of
in hor - rid
:- if :-
dan
tern
n
ger know
pest's how
:- .f |s
- ing,
- ling,
sky,
E'en then no
They in the
fear
hor
of
rid
: If .n :f .s
dan
tern
n
ger know
pest's how
- \?s>
- ling,
( S : ~
.PI |1 .1 :s .fe
S
\ They
( Hear
in storms hear lulla-
.d |f .f :PJ .re
a mo-ther's lul-la-
by,
n
by,
lul -la, lul -la-
: |r .d :r .t,
lul -la, lul -la-
r
by.
: I
= I
MUSIO
OF THE SPHERES.
Ex. 252.
d :-
l.Stars
PI, :-
2.See
KEY A. Words tr
.d |d :s, .d
are giv'n us our
Pll |P1| JPI| .PI,
yon star written
inslated from BESSELD, by J. S. Si
n :- .r |r :d
rALLYBRASS.
d .t| ill .Se,|l|
A. L. C.
:li -t,
life
S|
con
to bright - en,
:- .f| jf| in,
so - la - tion ;
And
n,
" Here
our dim
:f, If.
is past
earthly
:fi -f.
all
d :d .1, |1, :s,
path - way to light - en ;
PI, :1, .f, |f, :PI,
earth's tri - bu - la - tion ;
PI
They
S|
Pil -
in |n .,d :f .n
r
scourg
fe,
cour -
:d |t,
- ing rod,
:fei is,
age high,
:- .(s,)j
can sweet - en the
.'S| | S| .,PI| ' 1| . Si
grim, keep your
%. Co. (New.)
126
SIXTH STEP.
s.d.f. C.
s :s .f |n :d .r
n :r |d :
ma d' :d' ,,t il :se
\ raise up the soul to her
1 t| :t .t |d *n, ,f|
Fa - ther, God.
s, if, |n, :
See you the sol - emn
"id.,r :n .,n |f :f
, If thro' the dark you would
climb the sky."
Hark to the ho - ly
' 1 .t :d' .r 1 |n' .,re'
ing:
:n
ing,
1 : 1 . 1 | se : se . se
"All that is earth - ly shall
1 :1 .1 |se :se .se
They to the worlds and the
1
soon
1
a
:f .f |f :n
i words there glow -
f .f :f |PI .,re
be go - ing;
:f .f |f :n
mel-o - dies ring -
ges are sing - ing:
A. t.m.l.
f 1 :f .Pi'|r' :r'.d'
t :- .1 |se :
bi - deth sure ;
r :re |n :
thou shalt move,
id :- |s, :d
Souls that are
Or - der'd a -
n : | :
pure,
d : l :
right,
No - thing on earth a-
1 :1 .s |f :f .n
There is an or-bit where
'8 : |S :f
n : |d :r
n : ir :
d :- | :
} Souls that are
/ t, :- It, :t,
1 Or - der'd a -
pure shall for
d : |n, :f,
right by e -
aye en
i :- Ifi :
ter - nal
dure."
PI, : | :
love.
Ex. 253. KEY C.
SOUND THE LOUD TIMBREL.
Words by MOOHB.
A. L. C.
s :- .n :s
I.Sound the loud
2.Praise to the
PI I PI '. T
tim - brel o'er
Con - que - ror,
d 1 :t :1
E - gypt's dark
praise to the
s : :s
sea! Je -
: :s
Lord, His
s 1 :- .n 1 :d' '
ho - vahhath (
n :- .d :n |
word was our t
s :d' :d'
d 1 :-.t :d'
-i . .
*
G. t
. .
tri - umph'd his
8 :n :d
peo - pie are
n :- .s :d'
t : :
Sing for the
r s, : :n, .s,
pride of the
n :n :r
ar - row, his
breath -was our
sword!
Who shall re-
turn to tell
ty - rant is
d :t :1
bro - ken, His
1; IS, : S,
s :- .fe:s
cha - riots and
n :- .re:n
PI :d :n
horse-men all
d :d :d
f :f :f
splen-did and /
E - gypt the
sto - ry Of
those she sent
forth in the
hour of her /
St. Co. (New.)
SIXTH STEP.
127
f. C.
f :n :
vain was
f :f
Lord hath
their
:f
looked
boast - ing ! The
f :m : n
out from his
Lord hath but
n :r :d
pil - lar of
brave, How
d : :ds .s
pride ? For the
s.d.f. E b-
n 1 :r' : d 'l .t
P
d 1 :t
cha - riots.
d :t,
all her
and
brave
ritard.
n :n :d .r
n :n :n \
sunk in the
d :n :n I
dashed in the /
spo - ken, And
horse - men are
sei :se, :1| .ti
glo - ry, And
thou - sands are
1. :- :
PI s ; ,n
:s
n' :n' :r
d 1
:t :1
wave.
1, :- :
Sound the loud
den :- .d :m
tim - brel o'er
s :s :f
E
n
:r :f
tide.
, s :- :s s 1 :-.n':d'
s :d' :d ! d 1 :- .r 1 :t
d 1 :- : .I
) sea; Je - ho - vahhath
[ n : :s n :- .d :n
tri - umph'd his peo - pie are
s :n :d n :- .f :r
free.
TRUE LOVE.
Ex. 254. KEY G.
s, : |d :n
l.True love can
n\ '. |l*1| IS|
2.True love can
A. L. C.
n .r :
Id :
r *
|1 :
s :
Hi
never
si.fi:
die,
in, :
True
f, :-
love,
If, :
true
PI, :
love
Ifl
never
die,
True
love,
true
love
s.d.f. B
n .s :
if.r
:
d
:- i : dj^
d :- .d |d
:r
never,
S| .n, :
nev-er
- Hi -f|
;
die,
HI
Al-
| 1 I
though its first
Pll ', iHi 1 1|
bright
never,
nev-er
die,
Life's
spring may pass
a
n :
gleam
d :
way,
1
1
:n
May
:d
Soon
S
fly
t,
fade
:- .f [I, :t,
like child - hood's
If, r*
i |fi :fi
its sum - mer
d :- l
dream,
PI, I
day,
P. t.
Yet
: fe !t,
But
St. Co
. fNew.J
128
SIXTH STKP.
cres.
r pi :r .PI |s if .n
1 : :
fire,
f : :
gloom,
G. t.m.
TiU
rd
True
cres.
r .n |s :f .n j
burns its se - cret
d :t, .d [I, .ti :ti .d
life it - self ex -(
ti .d |1, .t, :t, .d (
bright 'mid win - try
love will ev - er '
1 : | :s .,fe
cres.
s : IPI :1 .,t
d 1 :
is :
pire : Ev - er
f : | :n .,re
glow - ing, Ev - er
n : |d :f .,f
grow
n :
ing,
in : I
bloom, Still un-
dy ing, Timede-
fy -
- ing,
P
i n : | :r d : |-
? TiU we die,
/ d : is, :f, n, : |-
PP
: si : (I,
we
d
die.
PI,
: I :
1 '
A. L. C.
S . :n .,re
TiU
: f. :-
If.
COME, FAYS AND FAIRIES.
Ex. 255. KEY D.
d 1 . :s .,fe s : n : :
Come, fays and
n . :n ,,re
fair
n :
d :n ,,n
n
:
Come, fays and
n . :s .,fe
Come,
d . :
:
Come a -
:d ..d
way,
d
:
Come,
d . :
n' :
d 1 :
:?
V .d 1 :n' .,r'
d 1 .t :l,t.d'
fair
s :
ies,
n :n
-,n
Yes,
n :f
Come,a - way
n .n :s
jr
fays and fair -ies
n .r :f .n
' :
Come a -
:d .,d
way, Yes,
d :t|
d .
:d
d . :d . !
Come, come,
come, come,
8 .8 :s.fc.s.l
8 .f :r .
shin - ing bright,
n .r :t t .
8| . *8| .
s .d 1 :n' ..r 1
Now for - sake the
n .n :s .,f
d :d .
d 1 .t :l,t.d'
r .r 1 :r',d'.t,d
While the moon is
n .n :n,re.n,f
wood's deep sha-dows,
n .r :f .n
d . :d .
Come and dance in her
t .t :t ,1.8,1
d . :d .
s . :B .
Come, come,
come, come,
Come, come,
come,
come, Come, come,
St. Co. fXew.)
SIXTH STEP.
129
t .1 :s .s
sil - ver light,yes
s .fe :s .f
s .d 1 :n' .,r'
, Cornea - way, ye
n .n :s .,f
d 1 .t :1,
t.d 1 s .s :s,fe.s,l
s .f :r .
shin-ing bright,
n .r :t| .
fays and fair -ies, "While the moon is
n .r :f .n n .n :n,re.n,f
r .r :s .t.
d .
:d .
d . :d
d . :d .
i
. :BI . '
come a - way,yes
Come, come,
come, come, Come, come,
come, come.
FINE.
S
d' :n'
r'
d 1
.t :i
_,t .d' i
' .t :s .1 ,t n
.r 1 :d'
Now for - sake
n .n :s
d . :d
the
,f
woods' deep s
n .r :f
d . :d
tia - dows, <
.PI 1
1
Dome and dance in her sil
- ver light.
;\ . :t si
.8, :d
Come,
come,
come, come, 1
Dome, come,
come a - way. ;
d.f. C.
L
'W .d
Id 1 ,! 1 .
n 1
r' .t
:"
P
r' .d',d':t .
L
S
.f :n .v
Come
.maf
, trip it
n .n
merri-ly
:n ,f .s
ho, ho, ho,
s .s :s
List to the li - ly
ri .d',d':t .1
bell's sweet sound,!
s .f :n ,|
.d r
d d
:d,d.
d
t, .r
:s
r 1 .d',di:t .1
L
s
.f :n .
Come
, trip it
merri-ly
ho, ho, ho,
List to the li - ly
bell's sweet sound,/
.14.'
d> .d 1 :d .r'.pi
1 .t
> j
:s
r' .t :s .1 ,t
n 1 .r' :d'
Come,
.f
.r
trip it merri-ly, h
n .n :n ,f .s s
d .d :d,d-d t
o, ho,
.8
.r
ho,
:s
Lightly trip it
round and round.
t| . it .
t, .t, :d
Come,
trip it merri-ly, h
o, ho,
ho,
Trip it
round and round.
A. t.m.l.
PP
S| .
P
:*dr ,r
Wea-ry
: si .
n :n
n :- ,re t n
S
:- r .f
mor - tals now
are
sleep
t| . :tj .
La
de n .
la,
la,
HI
'
la,
HI .
la, la,
d, :d,
la, la,
la, la,
S| . :s, .
n
.ll -,ti d
Sil -ver si
:d
ars the
d
:- ,t,4 n
:- ,-,r d :s .,fe
s :
fair
watch
are keep - ing, Fays and
d .
:1, . s
S| .
Si .
:S| . 86
:sei. 1| . :n .,re
PI :
la,
d, .
La, la
:f, . n
i, la,
. JPli
la,
n, .
la, la,
: pii . pi|
la, la,
. :PII . 1, . :
Come, come,
d . :d .
St.
Co. (New.)
130 SIXTH STEP.
n :n .,re
n :
d :
r .t,4:r .
: ,
ies, Fays and
d :
fair - ' -
d . :d .
ies,
d . :d .
Come from the glen,
t, . :t, .
t, . :t, , |
d . :s, .,fe
> come, Fays and
Come, come,
8, :-
fair -
come, come
HI . rd; .
ies, come,
Come, come,
S| . !S| .
come. come,
Si . :s, .
n .d,r:n .
:s .,fe
s :
n :n ,,re n :
Come from the hill,
d . :d .
Fays and
d . :n .,re
fair
n :
ies, Fays and
d :
fair
d . :d .
Come, come,
d| . ;di .
come,
d, . :
d . :d .
d . :si .,fei
Come, come,
s, :-
Come, come,
come, Fays and fair
d :
r .ti,d:r .ti
f
n .d,r:n
D. D.S.
ies.
d . :d .
Come from the foun -tain,
t, . :t, .
Come from the rill,
d . :d .
yes.
ta, :
come, come,
PI, . :di .
Come, come,
S| . IP .
come, come,
Si . :s .
Come come,
d| . ' di .
yes.
m it, :
{ ies, come,
More Distant Removes are much used in modern
music. Thev can be studied on the extended
modulator. See also my "Construction Exercises,"
p. 154, and "The Staff Notation."
Effect of Speed and Force. We all know that
when we are excited our pulse moves quickly, and
that when we are calm and meditative our pulse
moves more gently and slowly. This is the general
principle which must govern our speed of move-
ment in singing. It should be regulated by the
character of the emotion we are expressing. We
may also notice, that the same state of our feelings,
which naturally suggests that we should speak
quickly, generally leads us, at the same time, to speak
aloud. And the same emotions which lead us to
speak slowly, commonly also suggest that we should
speak softly. Hence the connection between speed
and force. In this study, however, the following
caution from Dr. Lowell Mason should be kept in
mind. He says, " The very same words may be
sung by different persons, or even by the same per-
son at different seasons, in different moods of mind,
St. Co. (New.)
and so with a pervading difference of expression.
The hymn commencing, "When I can read my
title clear," would be sung by one man (looking at
his Christian hopes through the tears of penitence and
sorrow) with a subdued trembling confidence, and
by another man (who has long taken Jesus ' for ' the
Christ,' in whom his soul trusts) with the free full
triumph of gratitude and faith. The Israelites,
before they crossed the Red Sea, might have sung
such a hymn as that which begins
h' almighty power of God,
That made the mountains rise ;
That spread the flowing seas abroad,
And built the lofty skies.
But they would have sung it, in a very different
strain after they had crossed the Red Sea ! It
might be said, that, in both these cases, th&gocond
way of singing is the right way. But allow-
ances must, nevertheless, be made for this difference
in the general style and manner of delivery."
The principles here laid down are necessarily
incomplete ; but they will serva the purpose
of setting the pupil to think. Each case given
SIXTH STKP.
131
below, should be brought before the class, and sub-
mitted to the judgment of the> pupils. They
should then be requested to find other cases illus-
trative of the same principles, or cases developing
any new principle. Let the pupil remember that
this exercise of independent thought and feeling is
the only exercise, in connexion with this subject, of
any real value to him. The mere learning of rules
for expression, without apprehending and testing
their meaning, and without trying to apply them
for yourself, or to invent others if need be, would
be just the putting on of so many weights and
shackles to hinder all free movement. *
Loud and Quick. These principles will naturally
suggest to us that passages of music expressing
joyful praise, gladness of heart, and other excited
emotions, should be delivered with force, and with
quick and sometimes accelerated speed. Besides
this, among the many passages where music
seems to act the wards, there are some in which this
dramatic delivery naturally assumes the same qual-
ities of loudness and quickness.
Joyful praise. Illustrations of this will be found
in " Jacksons," p. 2, v. 4, last line, "Swiftly" p. 32
"Nature's," &c., and St. Co. Ex. 111.
Gladness. See Sunshine, p. 45, last two lines of
verses 1, 2, " Spring life," p. 3, where full voiced
gladness bursts out on the words " Hurrah," " grow
away," &c., see also St. Co. Ex. 174, at the open-
ing and at the close before " FINE."
Excited emotion. By this we mean other exciting
emotions besides those of praise and gladness ; and
any of these emotions when suddenly aroused. See
the feeling of patriotism in p. 13, first 8 measures
and last 8 measures, see exulting confidence in
" Rise my soul," p. 33, v. 1, see a change to excited
confidence in " Nearer my God," p. 34, v. 2, lines
1 to 5, in " Hope will," p. 12, close of each verse,
in " Hear me," p. 18, third score, where the words
are those of prayer but the feeling is that of exult-
ing confidence, and in "Saviour breathe," p. 91,
third score, where even the depressing sentiment of
confession is naturally overlooked in the rising
urgency of passionate entreaty. See cases in
which the excited emotion suggests also, acceller-
ated speed, in "We fly," p. 20, through the whole,
and in " Awake," p. 62, end of second score, con-
trasted with the slow and sustained music which
precedes it.
Dramatic effects. Cases in which our mental asso-
ciations naturally suggest loudness and quick-no-^
St. Co. (New). * This subject is more fully treated
in the " picturing out " or acting of a musical
passage may be found in " Quail," p. 14, score 2,
" Ruthless the winter comes on," " Awake," p. 64,
score 4, see also St. Co. Ex. 175, accompaniment
in Tenor and Bass " rushing along."
The student should here be cautioned against an
unnatural straining after expression, against giving
such expression to a single word, or to a single
line of the poetry, as will distract the attention
from the general sentiment the pervading and pre-
dominating feeling of the piece.
The author of " Our Church Music " cites two
striking illustrations of this. " The following
stanza," he says :
Sinners rejoice, and saints be glad,
Hosanna, let his name be blest ;
A thousand blessings on his head
With peace, and joy, and glory rest :
"is evidently throughout a jubilant one; and the
individual word peace does not change its charac-
ter. I once heard a leader, with a powerful voice,
singing this hymn. Catching at such words as
' rejoice] l be glad,' &c., he bounded on exultingly.
But suddenly his eye fell upon the word ' peace.'
This ' gave him pause. ' He was startled. But, with
ready presence of mind, he checked his musical
career, and sinking his voice to a whispering
pianissimo, faintly articulated the word peace. This
accomplished, however, he rallied manfully for
the remainder of the line, to depict the ' JOY ' and
' GLORY ' of it." The following stanza :
See, the storm of vengeance gathering,
O'er the path you dare to tread,
Hark ! the awful thunder rolling
Loud and louder o'er your head :
our author heard sung with an AWFUL crescendo on
the third line, and a great thundering of the organ-
pipes. But the true feeling of the verse is that of
subdued solemnity. The attitude both of speaker
and hearer is that of quiet listening. " Would not
an effective reader," he says, " sink his voice to a
whispor, and turn the listener's ear inward, to the
thunder of his own conscience, rather than stun it
by material noise P "
Let the student always ask himself " What
should be my own state of mind (excited, or quiet,
&c.), while uttering this sentiment?" Let him
determine first to feel the sentiment quietly and
fully, next to speak it feelingly, and then to sing it
so as to make others feel. If he does this he will
never be found labouring to bring out expression
in "Musical Theory," Book IV.
132
SIXTH STEP.
Ex. 256259
from unimportant words, and forgetting the main
sentiment which he is uttering.
Loud and Slow. Passages which express some
grand idea on which the mind delights to dwell
should be sung loudly, and not only without quick-
ened movement ; hut often in a delayed and
sustained manner.
Grand Ideas. See examples in " God speed," p. 1
"Spring Life," p. 4, " praise and pray," where, in
the same place, the other verses would he sung loud
and quick, and in "Quail," ' p. 15, end of third verse,
where after trembling and fear, there comes a sol-
emn confident utterance of thoughtful faith on the
words "God for his creatures will care," "How
lovely," p. 61, first score "throughout" to "tid-
ings," expressing the universal triumph of the
gospel. Musically considered, this forte, rallen-
tando prepares the way, by contrast, for the light
piano which follows, in " Sunshine," p. 45, where
the singer is contemplating with strong satisfaction
the blessings he has realised, and where, in the same
place the previous verses would be sung loud and
quick. See also St. Co. Ex. 139, last line v. 3 & 4.
Ex. 256. "What musical expression is suitable
to the words in " Morning prayer," p. 80, " I feel
my being new created?" in "May time," p. 5,
opening of v. 1 and 3 ?
Ex. 257. What expression would you give to
" Quail," p. 15, " God be thanked," and " Look she
goes?" to "Home," p. 76, "tell me heaven ?"
and to "Saviour," p. 92, "for we are safe if thou.'
Ex. 258. What expression would you give to
"The stout limbed," p. 77, last score and p. 78,
third score ? and to "How lovely," p. 58, last score.
Give your reasons in both cases.
Ex. 259. What general musical expression
would you give to the words in St. Co. Ex. 134,
and what special expression to Ex. 113, scores 1, 2,
3, 6, 7 ? in Ex. 175, on the words " The sea,"
"The deep blue sea for me?" what expression
would you give to St. Co. Ex. 143, "Great is the
Lord," " He makes his promise good."
Soft and Slow. The principles stated at the
commenaement of this subject naturally suggest,
that words which express Worship, Sadness, or
other Subdued Emotions as well as those which
place the mind in the attitude of Meditation, Des-
cription, or Repose, should be sung more softly and
often more slowly than other passages. There are
St. Co. (New.)
also several Dramatic Effects which can be well
expressed by soft and slow singing.
fPorship. See examples in " Hear me," p. 17, at
the opening, where the second score, being a repe-
tition section and expressive of rising urgency is
naturally sung louder than the first ; but still piano,
" Lord in this," p. 33, v. 2, where the worshipful
feeling is deeper and humbler than in v. 1, and
should be suflg more softly and slowly. This
expression prepares for rising urgency of prayer in
v. 3. See also St. Co. Ex. 135, v. 1.
Sadness. See illustrations in " Shepherds
lament," p. 89, score 4, where the closed door, pro-
duces a sadness, which sobs in the words " and all,
all," and deepens into utter desolation, delaying
the utterance of the words "me, a dream to me,"
and in St. Co. Ex. 188, v. 2, second and third scores,
Ex. 190, v. 2, last two lines.
Subdued Emotion. See examples in "Jackson's"
p. 2, v. 2, first and last lines, add v. 4, second line.
Note that in this piece, the last line of the last
verse would be sung with a contrasting expression,
" Quail call," p. 14, " Ah ! but " to " defend," also
the same, "cold" to "cries," and the subdued
feeling of the listener, v. 1 and 4 of the same,
" Come freedom's," p. 13, v. 2, lines 1, 2, " Fortune
hunter," v. 5, last two lines, " Hope will," p. 12, v.
1, line 1, and v. 2, line 1. See also St. Co. Ex. 139,
v. 3, first line.
Meditation, Description, or Repose. See examples
in " If I had," p. 45, last score " But thoughts " to
" here,' ' " How lovely," p. 58, duet, " Swiftly," p.
31, "sweet," &c., "My lady," p. 21, where soft
respectful " description " mingles with " excited
emotion," which, see above, requires a different
treatment, " Spring life," p. 3, "Hear me," p. 18,
" I will," where the singer anticipates the sense of
repose. See also St. Co. Ex. 119," oh, sweet content"
" oh, punishment," Ex. 193, where, the whole is
descriptive and subdued ; but where, in the second
and third verses, the second half is made softer and
slower still by the " subdued emotion."
Dramatic Effect. See illustrations in " Night
around," p. 22. The accompaniment imitates the
effect of a night breeze, "The woods," p. 73, last
score "and vanish," &c., when the diminuendo,
pianissimo pictures the passing away of a dream,
" Ye spotted," p. 83, fourth score, " Beetles black,"
where the low voiced horror of the fairies, when
thinking of the "beetles," is contrasted with their
loud defiance of the spiders.
Ex. 2601
SIXTH STEP.
133
Soft and Quick. On the same principles it is easy
to see that passages expressing Gaity or the feeling
of Cunning and Inuendo are naturally delivered
in a soft, light, and quick manner.
Gaiety. See examples in " Come let," p. 24,
"trip it to and fro," "Fortune hunter," p. 5,
"Gipsies' tent," p. 35, and" O the joy," " The
woods," p. 71, where the light gaiety of the music is
moderated by the descriptive character of the vords.
See also St. Co. Ex. 78, "Tra, la, la," Ex. 174
where the gaiety of the first half of the music is
contrasted with the holdness of its opening and
close, and with the more legato descriptive passage
which follows.
Playful Cunning. See examples in "Fortune
hunter," p. 4, v. 8, " Without asking my lady," and
v. 10, last line where the fun would he increased by
a pause after "not," " Quail," p. 14, v. 3, "here I
lie." See St. Co. Ex. 145 on the last words " my
love loves me," as though playing with a pleasant
secret, Ex. 120, where after the importunate " Tell
me," another set of voices seems to reply "Oh!
no," and p. 42, from "all among" to "dwell,"
where the pretty little secret is let out.
Dramatic Effect. See examples in "Swiftly," p.
29, where first the quick fleeting shadows and after-
wards the quickly glinting sunbeams are imitated,
See St. Co. Ex. 102, where the rise and fall of
laughter is not only imitated but enacted.
Ex. 26O. What expression would you give to
"O Saviour," p. 86, 6 measures beginning "Save
us ?" " Father my," p. 34, v. 1, lines 5, 6 ? "Lord
in this," p. 33, v. 4, line 2 ? " Saviour," p. 92,
" Though " to " fly ? " " Loud the storm wind," p.
95, "soft comes?"
Ex. 261. What expression should be given to
St. Co. Ex. 97, v. 1, line 1, v. 3, lines 1 and 2 ? to
Ex. 194, v. 1, "In silence" to end, and in what
different manner should the mingled emotions of
{"oy, and sustained, intensified agony, in " Jerusa-
em," &c., be expressed? Ex. 137> first line of each
verse ? Ex. 139, v. 3, " and quiet lie ? "
Loud to Soft. Passages which suggest " Excited
emotion " at their opening, gradually changing to
" Subdued emotion," will naturally be sung dimin-
uendo. See "Spring," p. 51, "Cloe" to "gone,"
"Going home," p. 2, v. 2, last line, "Morning
prayer," p. 79, where the ma in the contralto twice
hushes the outburst of greeting at the solemn sense
of the Divine presence, and where,on the repetition,
the feeling, still more deepened, may be expressed
St. Co. (New.}
\>j & pianissimo, rallentando finish to the diminuendo.
The words of the second verse do not require such
refined expression : but those of the third verse in
the same place, demand all the feeling which con-
ductor and singers can throw into them. See also
St. Co. Ex. 79, score 4, v. 1.
Single tones may take the same shape, but in that
brief and condensed form, which we call the explo-
sive tone, when the singer wishes to express vig-
our and energy in a somewhat spasmodic manner.
Let the pupils sing the scale upward and down-
ward with a feeling of resolute determination, to
the words, "No! I will not! No! I will not!"
See also illustrations in the fairies saying " Hence,
hence," to the spiders, p. 83, "Where the gay,"
p. 65, score 4, the energetic climax of a remarkable
crescendo passage, "Hear me," p. 18, first and
fourth scores, "The Shepherd's," p. 88 in which
a number of explosive tones must be excused on
account of the state of passionate excitement which
the singer has to impersonate, "Harvest Home,''
p. 39.
Soft to Loud. Passages which suggest "Sub-
dued emotion" at their opening, gradually chang-
ing to "Excited emotion," will naturally be sung
crescendo. See "At first," p. 54, first score, where
the gathering force of a mountain stream is repre-
sented by crescendo and accelerando ; and the same
thing, p. 55, score 4, "Loud the storm wind," pp.
94 and 95, "loud," &c., where the subdued feeling
of description gradually changes into dramatic
excitement. See also St. Co. Ex. 139, v. 2, "And
in," to "to be," Ex. 175, " Beautiful " to "free,"
where contemplation rises into ecstasy.
Single tones may take the same shape but in that
brief and condensed form which we call pressure
tone, when the singer wishes to express the breath-
ings of desire, entreaty, or any deepening emotion.
Let the pupil sing the scale slowly upward and
downward to the words " Oh ! do, pray do ! Oh ! do,
pray do! " See "Jackson," p. 3, on the words, v.
2, last line, " Father," p. 34, v. 1, where a pres-
sure tone on each syllable of " From human agony,"
would well express the deepening emotion, " Hear
me," p. 17, score 2, " 0," ditto p. 18, second score,
"prayer," "0 Saviour," p. 86, score 2, "Save,*
" Help." It should here be noticed, however, that
the same emotion is sometimes expressed violently
and passionately by the explosive tone which
in other moods would require the desireful pressure
tone; see ''Saviour," p. 87, "Save," "Help," and
134
SIXTH 81' KP.
Ex. 262271
"Homo," p. 76, score 1, "shall." See also St. Co.
Ex. 189, Ex. 194, each syllable of "the anguish
of our soul."
Ex. 262. Mark for expression the following
stanza, first on the supposition that the poet wishes
the mind strongly impressed with the contrast in
the picture, for the sake (for example) of some lesson
he means to draw from it, and, secondly, suppos-
ing the sentiment to mean nothing more than a
descriptive meditation :
In winter, from the mountain,
The stream, like a torrent, flows ,
In summer, the same fountain
la calm as a child's repose.
Ex. 263. Mark the following from Gersbach's
"Little Singing Bird," translated by Mr. James
Stally brass:
On airy wings
The skylark springs
Toyonder cloud on high ;
His thanks to God
He flings abroad.
And fills the wide blue sky.
O songster rare.
You swing up there
Creation's morning bell !
My songs I'll blend
"With yours, and send
Them up to heaven as well.
Ex. 264. Ditto, ditto.
Oh ! never fear
Old Winter's cheer,
Though rude and sharp his greeting ;
His coat is rough
His voice is gruff.
But warm his heart is beating.
He wears no smile
And for a while
He'D seem to hide our treasures ;
Hut in the end
He'll prove a friend
And bring us back Spring pleasures."
Ex. 265. Ditto, ditto.
When Spring unlocks the frozen ground
And scatters all its treasures round,
How sharp and active then is found,
Old Master Spade the Gardener !
When 'mong the crops feeds hungry Bun,
Oh ! who will rise before the tun
To scare the rogue and make him run T
Old Master Spade the Gardener !
Suppose the last line in each stanza repeated, what
would be your feeling in the repetition, and how
would you mark it ?
St. Co. (New.)
Ex. 266. Ditto, ditto.
Oh ! there's not a sweeter pli-asuiv
Than to know a faithful heart.
Ye that own so rich a treasure
Never, never with it part !
Blest are we, in joy and woe,
If but one true heart we know.
Ex. 267. Ditto, ditto.
Your cage is nice and ready ;
Though green boughs, pretty bird,
Are now your home delightful
And rightful,
Yet spiteful
Is Winter, and he'll pinch hard.
The eage has long been ready :
What says the pretty bird !
I'm still to freedom clinging
And swinging
And winging
My flight o'er the bright green sward !
Ex. 268. Mark this from "Favourite Welsh
Hymns," by Joseph Morris :
Far on the ocean, one cold starless night
A small bark was sailing in pitiful plight ;
The boom of the billows, as on rushed the storm,
O'ercame the stout hearts of the men with alarm.
But one in that lone boat was fearless the while,
The captain's bright boy, looking round with a smile ;
" The storm," he said, " threatens, but still do not fear,
We safely shall land, for my father doth steer."
Ex. 269. Mark this, by the Rev. W. B. R. :
Never forget the dear ones,
What songs, like theirs, so sweet !
What brilliant dance of .strangers
Like their small twinkling feet ?
Thy sun-lights on life's waters,
Thy rainbows on its foam ;
Never forget the dear ones
Within thy house at home.
Ex. 270. Mark this, from Barry Cornwall :
Oh ! the summer night
Has a smile of light.
And she sits on a sapphire throne ;
Whilst the sweet winds load her
With garlands of odour,
From the bud to the rose o'erblown.
But the winter night
Is all cold and white,
And she singeth a song of pain ;
Till the wild bee hummeth
And warm spring cometh,
Then she dies in a dream of rain.
Ex. 271. How would you treat the last verse
of " Oh ! where and oh ! where is your Highland
laddie gone ? " We once heard it sung all in one
piano. Should question and answer be given alike f
Suppose, and suppose that your Highland lad should die '.
The bagpipies should play o'er, him and I'd lay me down
and cry;
And 'tis oh ! in my heart I wish he may not die.
SIXTH STEP.
135
Will you take the first line as a simple thought-
less remark of the questioner, as a solemn fear
seriously entertained, or as a heartless mocking sug-
gestion ? Is the opening of the second line the sad
musing of sorrow as it pictures the parting scene ?
Or is it the earnest voice of a momentary triumphant
feeling, claiming, even in death, some honour for
the Highland lad ? Does the last line imply hope,
or a troubled heart near despair ? Mark the verse
according to all these various readings.
Finally, on this subject of expression, let pupils
be always reminded, that, in the preceding exercises,
we have only introduced them to certain gen-
eral principles and instruments of ART. But, to use
the memorable words of M. Fetis, " ART WITHOUT
LOVE is POWERLESS. To persuade we must BELIEVE
in what we say. To MOVE WE MUST OURSELVES BE
MOVED." If you want to see how this principle is
forgotten, and how little the highest art can do
without TRUTH and LOVE, go listen to the well-paid
chorus in some first-rate opera-house of England
or France, or to the unbelieving choir and organist
in some of our greatest churches.
Phrasing of Words. From the commencement
of the course, as at pp. 9, 16, and 30, the attention
of the student has been directed to the proper
division of the melody into portions, marked by
breathing places. At pp. 69, 70, instructions and
exercises have been given in the art of quickly detect-
ing the natural divisions of musical sections and
phrases, and at p. 98, the principles of " Melodic
Phrasing" are still further developed. But to the
singer a yet more important art is that of dividing
the words so as to give the sense most clearly and of
making the hearer receive that sense as the singer
feels it. When singers take breath in the middle of
a word, or between words which so belong to one
another as properly to make up a compound word,
they commit an outrage on the poetry they sing.
" Who would do so ? " exclaims the irritable reader.
" Let him listen attentively," says Mr. Wordsworth,
" to the next ten singers and out of the number,
nine shall be caught in what appears an impossible
fault. Intelligent people have sung words thus
punctuated,
I saw the vir, tuous man contend
With, life's unnumbered, woes.
And, he was poor with, out a friend.
Pressed, by a thousand foes."
The singer should form the habit of looking on
words not singly but in groups joined together
St, Co. (New.)
naturally by the sense. In other languages than
our own the little words are absorbed into the
larger ones. Thus, in Latin or in Hebrew nearly
all the "groups" marked in the verse below could
be expressed by single words. Without studying
deeply the details of grammatical analysis,the musical
student will easily see, by his common sense, what
words belong to one another. Let not such words be
separated. When the smaller grou ps the compound
words are readily distinguished, the student will
begin to form these again into larger groups. Thus
each line of the following verse may be divided into
two larger groups as well as into three or four
smaller ones. The stronger the retaining power
of the lungs the larger the phrase they can easily
deliver in one breath.
With all my powers of heart and tongue
I'll praise my Maker \rith my song
Angels shall hear the notes I raise
Approve the song and join the praise.
Mr. G. F. Root proposes that a verse, like the
following, should be sung by the class to some
familiar tune :
While shepherds watched their flocks by night,
All seated on the ground,
The angel of the Lord came down,
And glory shone around.
Let the pupils be first required to take breath in
the middle of the words "shepherds," "seated,"
" angel," and " glory." " All would feel," he says,
"that taking breath between the syllables of a
word is wrong, and thus one rule would be deduced.
Next, the pupils might be asked to take breath
after the words ' their,' and ' by ' in the first line,
and after ' the ' in the second, &c. It would then
be seen that the breath must not be taken after
words that are in close connexion with other words.
Finally, the pupils should sing the verse, taking
breath where the stops occur, and after emphatic
words. That will be found agreeable and expressive,
and thus the rule for correct breathing would be
established."
The musical and poetical phrases, in ordinary
cases, coincide with each other. But where thai
is not the case, the words must rule. In the follow-
ing illustration, from W. A. Wordsworth's " Trea-
tise on Singing," the musical phrasing would
suggest, as breathing places,, those where the cross
is placed. But such a phrasing would, in two
places, be false to the sense. The other marking l
136
SIXTH STEP.
Ex. 2723
therefore necessary. Sing the passage in both
ways.
KEY A. t x x
it
:-.t,
not that
meads are green, It
t
:- .r |n
not that
its
r
hills
:f .n |r :
are fair.
In a chorus it is a point of special importance
that all should be agreed as to the principal places of
taking breath. It produces a delightful effect of
unity and clear expression thus to make the " phras-
ing" unanimous.
Ex. 272. Divide the words of Ex. 191, 144,
140, into smaller groups and mark them after the
manner of the verse above. "With all," &c.
Ex. 273. Divide into larger groups, and mark
in the same way, the words of " Hope will," p. 12,
"Come freedom's," p. 13, "Lord in this," p. 33,
" Father my spirit," p. 34.
Vowels. The importance of vowel sounds to the
singer has been shown, and the consonants have al-
ready been studied, pp. 69, 60. Whenever a class
grows careless in the utterance of consonants.the "ar-
ticulation exercises" Nos. 146 to 152 will have to be
revived. This study of the consonants is sufficient
to render intelligible the rapid recitations of a
chant, or the quick speech of a comic song, but not
to produce any lengthened tones with clearness and
beauty. It is to the vowels that we owe the chief
charm of speech in song. Unfortunately also it is
the vowels in which the dialects of the different
parts of the country principally differ. The local
teacher may not always think it advisable to fight
against an accepted and well confirmed local habit
of speech. But he should at least know what the
received sounds are, and how to produce them.
Again, those vowels which are commonly short in
speech have often to be sung to a long note, but few
speakers have been accustomed to notice the exact
formation of these vowels, or to sustain them, except
for a passing moment. Now these vowels in Eng-
lish are rarely shortened utterances of the corres-
ponding well known long vowels. They generally
require some parts of the vocal organs to be differ-
St. Co. (New.)
ently arranged. Hence the power of sustaining
them has to be learnt as a new art. So difficult
are they that Kollmann and some other writers on
musical pronunciation, misled by the word short,
and not noticing that these vowels really differ from
others in quality, take for granted that " the short
vowel, cannot be prolonged." But to hear the
quality of a vowel altered in singing, as for example
steal, sate, cart, fool, substituted for still, set, cat,
full, produces a most disagreable, often painful
effect even on the uncultivated hearer, whereas a
pure vowel is a pure delight. The following
explanations will help to make the subject clear to
the pupil's mind.
Mechanism of the Vowels. Vowels are produced
by giving certain fixed forms to the cavities
between the larynx and the lips. Those cavities
act as a "resonator" to the tones produced in the
larynx, just as the body of the violin acts as a reson-
ator to the tones generated by its strings. By their
varying shapes they modify the quality, and tend
also to modify the pitch, of the vowelb. Not only
are some vowels of a much pleasanter quality than
others, but some vowels are more easily and clearly
produced at a low or a high pitch than others. As
any fixed shape of the vocal cavities will produce a
new vowel, the number of possible vowels is practi-
cally infinite, and the number acknowledged in var-
ious languages and dialects, without reckoning
individual peculiarities, is very great. We shall of
course confine our attention to the principal Eng-
lish vowels, indicating their commonest dialectic
varieties.
The following diagram is a kind of vowel modu-
lator, the vowels being for convenience expressed
in glossic letters. The arrangement is according to
natural pitch. If the vowels oo, on, an, an, ai, ee,
are pronounced in a whisper, without any effort to
give them any particular musical character, and run
up quickly, the rise in pitch will be as perceptible,
and much of the same character, as the rise in pitch
produced by pouring water from a height into a
jug till it is full. The exact relation of vowel
quality to absolute pitch is still under investigation,
but it is believed that when the change of register
does not interfere, the character of the whispered
vowel system is generally maintained, ee being best
adapted to the higher, and oo to the lower pitches,
and so on.
SIXTH STEP.
137
SCALE OF ENGLISH VOWELS/
OE.NEUALLY LONG.
/ EE, in beet.
GENERALLY SIIOHT.
AI, in ba<t.
AA, in baa, bazaar.
AU, in Pawl.
OA, as o in pole.
00, in pool.
I, in bt't.
E, in bet.
A, in bat.
U, in bwt.
O in pol.
UO, as u in pwll.
In speaking of the vowels it will be most con-
venient not to call them by their sounds, but by the
usual alphabetic or spelling names of the letters
composing their glossic form : ce will be " double-
e," i will be "eye," ai will be "a-eye," and so on.
The teacher will thus be able to call for a sound
without first pronouncing it.
The open Italian aa forms the centre of this vowel
scale. Proceeding upwards from aa the middle
of the tongue is raised for each higher vowel. The
lips are open throughout this series. Below aa the
lips are gradually more and more rounded, being
closest for oo or uo. At oo or uo the back of the
tongue is highest, and the tongue is altogether low-
est at au or o. The tongue is in precisely the same
position for oa and aa, but for aa the lips are not
rounded, and the larynx is lower.
Just as in studying tune we took the boldest tones
of the modulator first, so in studying the vowels we
commence with those most readily produced by the
singer or most familiar as separate sounds to the
speaker. The vowels will therefore be studied in
five groups in the following order, first aa ; second
an, oa, oo ; third ai, ee ', fourth u, a, c, i ; fifth uo, o.
Here the first group stands alone ; the second are all
t poken with rounded lips ; the third are the less
. ,, jj, . For pictorial diagrams, see Teacher's Manual, p. log.
sonorous long vowels ; the fourth are all short vowels
with open lips ; and the fifth arc peculiar vowels
with rounded lip.
FIRST GROUP; AA.
aa in baa, papa, father, harp,calf , ass,chance,aunt ,
laugh, guard, heart. This sound is formed with th. ;
lips well open, and the teeth considerably separated.
The tongue is depressed, lying almost flat, and quit('
free in the lower jaw. Pouting the lips, or clos-
ing the corners, so as partly to cover the teeth.
much injures this, and all the upper vowels. It 1
the tongue is lowered too much as for au (the lips
not being rounded) a deeper, thicker, lower sound
is formed, the glossic ah, which is much used in
Scotland in place of both aa and au. A short form
of aa or ah is used in the North in place of a, and
in the West a long form of a is used for long aa.
All these variations materially injure the quality of
tone in singing. The ah is felt to be uttered in the
throat, the long a is almost a bleat, driving the
sound against the palate. Obtain the pure aa by
keeping a medium position of the tongue, and en-
deavouring to drive the breath against the upper
teeth, but keeping the teeth well opened. A still
finer sound, the glossic a', is made by keeping the
tongue flat but altogether raising it in the mouth
to the same position as for u, and is heard now in
Paris and very much in London, in place of aa (in
ask, grant, pass, path, and such words not containing
r) but its use detracts from the pureness of the
quality of tone.
As this Italian aa has been so much used in pre-
vious exercises, it is not necessary to give new
exercises upon it here, but if from not perceiving
the importance of pure vowels the pupils have been
allowed to change aa into au, ah, oa, or a, they must
now go through the klang and tuning exercises of
this step over again with exclusive attention to the
vowel aa. If there remains any difliculty in pro-
ducing the Italian aa, let the plan recommended
by Fredrick Wiek, of Dresden, and Madame Seller
be adopted, of beginning with oo, and then chang-
ing the vowel into aa, thus : oo-ca. The oo puts the
mouth in a forward position and so prepares it for
the best quality of tone that can be got on aa. Of
course the teacher will be careful not to stop at oa
or au on the road.
As aa is the central vowel we do not expect any
marked difference to arise from the change in the
pitch. Its tendency however to alter into au in the
138 SIXTH STEP.
lower part of men's voices is very noticable. Try
with the class such passages as second part of St. Co.,
Ex. 78, ms. 11 and 13, Ex. 136, sc. 2, m. 8. Add. Ex.
p. 2, sc 4,m. 3, v. 2, Bass, p. 9, sc. 1, m. 3, Bass. And
it sometimes has a tendency to alter into M at the top
of the soprano voice. Try such cases as St. Co. Ex.
172, lasf'Amen" 1st part, and Add. Ex. p. 5, m. 1,
soprano.
SECOXD GROUP, ATT, OA, 00.
au as in Paul, daub, cause, caught, laud, law,
all, talk, broad, brought, cord, fork, &c. The
tongue is much lower than for aa, the back of it
being as much depressed as possible. The middle
parts of the lips are widely separated, but they are
slightly rounded at the corners. The jaw is de-
pressed.
As, in the North, deep ah is used for an, so in the
West an is substituted for au, as kaard for " cord."
Thesound ofo (see Diphthongs p. 143) is frequently
confused with au by people in the South, who for
"more" (properly maor), will say maur, or even mau.',
and even confuse "court," (properly kaort) with
"caught." Sometimes au is used provincially for
a", and no or on for au.
Ex. 274. After striking the tonic chord of Key
G. sing the vowel au in lengthened tones, first
downwards from G, then upwards from G, and
always piano till the sound is securely struck at all
pitches. The teacher will find it necessary to set a
pattern for his pupils. He should guide them in
the beginning and ending of the tones by means of
the " manual signs. " The pupils should take
breath before each vowel, and deliver it with that
clear and perfect attack (without breathiness, force,
or hollo wness), that "good touch," on which the
quality of tone so much depends. Even on this
almost invariably long vowel the pupils will soon
perceive how difficult it is to hold a vowel position
without change, for even a second of time. They
will feel the constant tendency to relax the rounding
of the lips so changing into a/i, to rise into aa, to fall
into on, or to end with a slight u, representing a final r.
If there is any difficulty in getting a good quality
of tone on this vowel it should be practised on
Wiek's plan described above. The singer will feel
that this, like all other vowels, is more difficult to
produce at certain pitches than at others. At no
moment must his attention be withdrawn from the
purity of the vowel sound. As high pitched and
low pitched voices have different difficulties to con-
8t. Co. (New.)
Ex. 2746
tend with in producing vowel sounds with purity
the women's and children's and the men's
should be practised separately and alternately ; the
alternation will give them rest and opportunity for
self-improving criticism. As this is not an exer-
cise in strength of lungs or compass of voice, cer-
tain voices will be allowed to drop out when the
majority of the class has gone beyond their reach.
The tendency to change this vowel in the high
part of the Sopr. voice may be studied in such
cases as Add. Exs. p. 45, sc. 4, " thoughts."
oa. as in load, shoal, coat, blow, hoe, globe,
grove, most, folk, though. The tongue lies llat
and free in the lower jaw, in the same position as
for aa. The lips are much more rounded than for
au, a considerable portion about the corners being
quite closed. But the teeth inside the lips should
be kept well apart, and the lips should not be pursed
or outwardly rounded into the shape of an O, as
either error much impairs the quality of the tone.
In the South of England there is a tendency to
finish the vowel by closing the lips still more and
raising the back of the tongue, producing a final
oo ; this should be avoided in singing. In many
places the larynx is too much depressed, producing
the broader sound ao, which too closely resembles
au: this is particularly unpleasant to a Southerner.
Care must also be taken not to commence the vowel
with a sound resembling u and then finish with oa ;
this arises from not rounding the lips at the moment
of striking the vowel ; it is very common and should
be carefully avoided. The Cockney fault of almost
conf using oa with the diphthong ou, making "no hoe"
into " now how," (which is also the practice in
Ireland, when the sound of long OH should be heard
before /, as in " cold soul,") must of course never be
tolerated. We may say the same of stain and
bain or steen and been, sometimes heard in the far
North for stone and bone.
Ex. 275. Practise this vowel in key F#, and in
the manner described Ex. 274. Guard against the
tendency towards ah or au in the lower, and M in
the higher pitches. Study it at high pitches in St.
Co. Ex. 175, last sc. m. 2, "home," and Add Exs.
p. 41, sc. 4, m. 4, " home." See it at low pitches in
St. Co. Ex. 136, 2nd verse, last word, 2nd part.
Add. Exs. p. 17, sc. 3, m. 2, bass, and p. 24, sc. 4,
m. 3, bass, " fro."
Ex.276. Sing thefollowing words to longsounds.
Each pair should be sung to the same tone and the
same breath: bought boat, caught coat, groat
Ez. 277280.
SIXTH STEP.
Grote, abroad road, flawed flowed, sawed sowjd,
gnawed node, naught note, sought creosote.
oo. as in fool, cool, whose, lose, you, soup, two,
rheum, wooed, rude, rule, hlue. The back of the
tongue is raised nearly into the position required
for k, and quite conceals the uvula, but the tongue
is thick and not wide, the back part of it lies be-
tween, but does not touch the back teeth, and the
tip presses gently below the lower gum. The open-
ing of the lips is much more contracted than for
on, but the teeth must be kept wide apart to secure
a good quality of tone. Be careful not to pout the
lips, making a funnel of them, and thus muffling
the tone. Be careful also not to raise the middle,
instead of the back of the tongue, for if you ap-
proach the ee position with the tongue while the
lips are rounded, you will get one of those French
sounds so common in Scotland (glossic eo, oe or ue,
French eu eu or ?<) , and sounding like at or * to
English ears. Thus, as Mr. Melville Bell observes,
when a Scotchman says " John has gone out to cool
himself," an Englishman is apt to hear "to kill
himself. ' ' As this vowel has been so much used in the
klang exercises it is not necessary to practise it here
except by way of comparison. Its natural changes
at high pitches may be tested by the sopranos in
such cases as St. Co. Ex. 175, sc. 9, 1st note. See
instructions under uo.
Ex.277. Comparison exercises as above, Ex. 276:
groove grove, coot coat, doom dome, room roam, tool
toll, gloomy gloaming, boon bone, noose nose, stool
stole, whom home, hoop hope, loof loaf, poop pope.
THIRD GROUP, AI, EE.
ai. as in paid, ail, aim, ale, flame, hay, they,
weigh, grea.t, gauge. For this vowel the lips are
wide open ; any contraction of the opening spoils
the sound. The teeth are wide apart, the middle
(and not the back) of the tongue is raised. No
part of it presses against the palate, though the
edges lightly touch the back teeth, the tip of the
tongue lies loosely near and slightly higher than
the lower teeth, but must not touch them. There
is a great tendency in the South to raise the middle
of the tongue still higher towards the end of the
sound, thus making it taper into i. Some elocu-
tionists consider that this tapering ai-i gives a soft-
ness and a beauty to the speech ; others think it may
well be dispensed with. In singing, endeavour to
produce ai without the tapering. In the North the
tapering is not used, but there is a contrary ten-
dency to broaden the sound into that heard in the
. Go. fNewJ
, South only before r, as in " air, care, pear, pair,
pare," which is the long sound of e explained below.
The indefinite article a is commonly spoken of as
ai, but it has this sound only when emphatic ; other-
wise it is e, u, a, a' or aa, according to the habits
of the speaker, and u, aa. are best adapted for sing-
ing. Notice the tendency of ai to change at low
pitches, while the Basses sing Add. Ex. p. 33, sc. 2,
last note "Face," and p. 45, sc. 1, last pulse " rain."
Ex. 278. Practise these vowels in Key E and in
the manner of Ex. 274.
Ex. 279. Sing the following pairs of words on
any tone, each pair to the same breath, and dwelling
on the important syllables : pay-er pair, obey-er
bear, a stay-er a stair, decay-er care, lay-er
lair, pray-er prayer, array-er rare, sway-er swear.
ee. as in meet, meat, mete, me, tea, grief, seize,
quay, people. The middle of the tongue is brought
close to the middle of the palate, against which
and the teeth it is pressed close on each side, leav-
ing a narrow channel at the top for the breath to
pass through. The tip of the tongue is directed
down towards the back of the lower teeth, against
which it is pressed in ordinary speaking, but in
singingit should be kept free, as it will have to assume
slightly different positions for different pitches, andas
thetightpressureinjures thequality of the tone. The
teeth must be kept open, but cannot be opened so
widely as f or ai, without impairing the pureness of the
tone. The larynx must be as high as possible, but as
this cannot be maintained for low pitches, there is
a constant tendency for this vowel to sink into a
lengthened i. Notice this tendency while the
Basses sing St. Co. Ex. 136, 4th verse last word,
Add. Ex. p. 1, m. 3, " speed " and p. 74, m. 3,
" dream." It can only be sung in great purity at
high pitches, Before r it always falls into i, as in
"ear, mere, pier." Singers must be careful not to let
" leap, steal, feel, seen, green," sound the same as
" lip, still, fill, sin, grin " lengthened. When, how-
ever, short or " brief " ee does not run on to the fol-
lowing consonant, it may be always sung as i, if
more convenient.
Ex. 280. Practise this vowel in Key B and in
the manner described above. Men should guard
against this sound descending into i (as in still)
only lengthened.
FOURTH GROUP, U, A, E, I.
u. short, in but, brush, judge, tun, sun, dun,
blood, rough, money. For this vowel the tongue is
almost flat, and altogether higher in the mouth
14U
SIXTH STEP.
Ex. 281284.
than for aa, but it is quite free from all the teeth,
loose and unrestrained, filling nearly the middle of
the hollow of the mouth. Many persons drop the
tongue too deep, which destroys the beauty of this
simple natural sound and gives it a disagreeable
roughness or thickness. Care must be taken not to
round the lips in the least. The teeth must be wide
apart. If the larynx is lowered, as in the low
pitches, the sound naturally approaches aa, but all
approach to oa can be avoided by keeping the lips
open. Notice this vowel at low pitches in the Bass,
St. Co. Ex. 119, m. 8. "punish," and Ex. 145, m.
10, joyows thrush." Add. Ex. p. 47, sc. 4, m. 3,
"shuts." Try to sustain it purely although not at
low pitch in Add. Ex. p. 58, scs. 1 and 2, " lovely,"
St. Co. Ex. 98, last word, Istv. " done," and Ex.
99, ms. 6 and 8, " hove " and " love." The deeper
vowel (glossic MM) is common in North Wales and
in the Provinces.
As a short vowel it is the commonest of con-
versational sounds and all our unaccented vowels
have a tendency to fall into it. But notwithstand-
ing this, many writers on elocution condemn it as
slovenly and obscure. In the South of England
this vowel is long before R in accented syllables,
the R being generally omitted, as in mirth, earth.
In none of these should e long (the modified at of
air) be tolerated. Other examples are in nurse,
purse, murmur, word, world. In these a deeper
sound, made by lowering the back of the tongue
and much heard in the West, should be avoided.
No approach to ka should be allowed. In both
these sets of words tho singer must learn to insert
the r as a very slight rapid trill following the
vowel. In Scotland these sets of words are pro-
nounced with different short vowels before a tril-
led r'.
Ex. 281. Practise this vowel in Key D and in
the manner described as above, Ex. 274. In order
to guard against its great tendency to change, let
the pupil think, while he sings, of one of the above
words containing this vowel.
Ex. 282. Comparison exercise as above. Ton
tone, nuns nones, run roan, pup pope, sup soap, sun
sewn, rut rote, rum roam, stirring starring, bird
bard, occurred card, deterring tarring, serve salve,
firm farm, gird guard, herd hard, girl garland,
pearl parlance, further farther, serge sarjeant.
Ex. 283. Sing on any tone each pair to the
game breath : buck book, luck look, cud could,
tuck took, knuckle nook, rush push, gullet bullft,
pulp pulpit, null pull, hull bull,hulkbulk (u in both)
a. in tap, pat, pant, sad, mash, flax, plaid,
plait, bade. The whole tongue is greatly higher
than for aa, and the middle of the tongue is moro
raised than for . It is however much lower thau
for ai, and should be quite free of the back teeth,
below which it hangs freely, the tip of the tongue
being slightly higher than the lower teeth, but not
obstructing the free opening of the mouth. Both
teeth and lips must be wide open. Persons who
mince their words in England pronounce the word
man almost as though it were men. Mr. Bell
accuses the mincers of saying " the ettidudc is
edmirable." The sound which they really use is
the open sound of at (glossic ae) so much heard in
France, Italy, and Germany, (e, a,) and frequently
in some English provinces in place of e. Tho
larynx is lower for a than for ae ; partly for this
reason, there is a natural tendency to convert a
into ae at high pitches, which require the larynx
to bo raised. See a at high pitches in St. Co. Ex.
134, m. 3, v. 3, " happy," and Ex. 137, m. 7, " man-
fully." Foreigners always confuse a and ae. It is
heard as a long vowel in the West and in Ireland
in place of aa, and in Ireland it is the name of the
first letter of the alphabet. In Scotland short ah
(the deeper sound of aa) is constantly substituted
for a, and the teacher should carefully correct any
tendency to say aa for a, except in such words as
" pass, glass, ask, path, lath, aunt, haunt, gauntlet,
grant, sha'n't," aa is commonly used in these
cases ; the use of a is only common in the West and
among the educated classes in the North. See cases
St. Co. Ex. 133. v. 4, last line, " everlasting." Add.
Ex. p. 21, sc. 3, m. 3, " glass." The unaccented a
in iden, China, against, passable, is generally pro-
nounced M and may be so sung, but the effect of '
(see aa,) or aa, is much finer in singing and is always
admissible. See Add. Ex. p. 47, sc. 1, "alone,"
and p. 34, sc. 4. m. 4, " around." Any final trilled
r in such cases must be avoided most sedulously,
especially before a following vowel. In -al, -an,
final, an u sound is generally used in speaking, but
an a sound is admissible in singing. See Add. Ex,
p.32,sc.4,"universal,"p.34,sc. l,"humaii." Singers
should never sing/,n, without any vowel when there
is the least excuse for their inserting one, as the
quality of their tones is BO bad.
Kx. 284. Practise this vowel in the Key D and
in the manner described above, Ex. 274.
St. Co. (New).
This exercise should be introduced later, as 2906.
Ex. 285289. SIXTH STEP.
Ex. 285. Comparison exercises as above : pat
pate, pad paid, bat bate, back bake, ban bane, tap
tape, tack take, dally dale, cap cape, can cane, gap
gape, fat fate, fan fain, sat sate, sham shame, lack
lake, mat mate, nap nape.
e . short, in threat, dead, health, friend, said,
ncif er, leopard, any, many ; long, before r and ta-
pering into , in there, where, ere, e'er, stair,
stare, pear, bear, bare. The tongue ia precisely
in the same position as for ai, but the larynx
is lowered. Hence in high pitches c has a ten-
dency to become a>, or else the tongue is lowered
into the position of a, and ae is substituted. See
St. Co. Ex. 133, v. 4, "commend," Ex. 171, m. 4,
"Amen," Ex. 144, v, 4, "where," Ex. 145, m. 3.
v. 3, " ere." The sound of ae is so commonly used
for c in Scotland (where e is reserved for our /, the
Scotch j-n' being Bounded like our pen] and in the
provinces, and even by many Southern speakers,
that the use of ae for e need not be corrected, but
care must be taken to avoid a for e, as is some-
times heard in Scotland. When e is written brief
in unaccented syllables either i or e may be spoken
hut e is generally the best for the singer. Sec St.
Co. Ex. 137, last note. The singer must bo very
careful not to prolong such words as " kept, set,
met, wed, ell, Ben," into "caped, sate, mate, wade,
ail, bane, &c., and hence must practise the prolon-
gation of this vowel sound.
Ex. 286. Practise this vowel in Key D. in the
manner described above.
Ex. 287. Comparison exercises as above : pet
pate pat, bet bate bat, tell tale tallow, dell dale
dully, kennel cane can, get gate gat, fell fail fal-
low," sell sale Sail, shell shale shall, let late lattice,
met mate mat, neck snake knack.
i. as in hip, pit, bid, cliff, his, gild, lynx. The
tongue and lips are precisely in the same position
ns for ee, but the larynx is lowered, so that the
voice naturally sinks from ee to i in lowering pitch
and great care is required to sing both ee and i to
the same pitch. The vowel i is very characteristic
of English, and although it does not occur as a
recognised long sound, it has to be constantly pro-
longed in singing. All meaning is lost if " lip, sit,
grit, bid, hid, sick, sin," are prolonged into "leap,
seat, greet, bead, heed, seek, scene." Such words
as " happy, vanity, unity," have constantly a
long tone to their last syllables, which must never
be called ee. See prolonged tin St. Co. Ex. 116,
St. Co. (New.)
t41
sc. 2, "kill," Ex. 139, m. 2, "little," Ex. 140, v.
3, " fill," Ex. 174, m. 12, " hill," Add. Ex. p. 30,
sc. 3, " village." The great fault of English speak-
ers is to use t long for ee, and of foreigners to use
ee short for i. Before r, i long is always used for
ee long, and after r many speakers find the pure ee
difficult. Most bass voices take i for ee. In the
Comparison exercises prolong the final y as in baby,
etc, singing it to a note as long as that for the fol-
lowing e or ee, etc.
Ex. 288. Practise this vowel in Key E in the
manner described above.
Ex. 289. Comparison exercises as above : let
baby be, a palfry free, with ugly glee, a tiny knee,
the glassy sea, make worthy thce, a wintry tree,
thy enemy me, a flashy she, best city tea, they
chiefly flee, cried gruffly flee, the lucky key, fit
feet, sit seat, mill meal, knit neat, whip weep.
FIFTH G-nour, UO, 0.
uo. as in full, wool, could, book and foot. The
tongue, teeth and lips are in precisely the same po-
sition as for oo, but the larynx is lower. Most
elocutionists consider tio to be the same as oo short,
but the Scotch pronounce " book, look, cook," with
a real oo short, and the effect is so different from
the English, that they are wrongly supposed to say
oo long. Compare Yorkshire book, with oo long ;
Scotch Idol;, with oo short, and Southern buok, with
uo short. Also compare English pool, French piiol,
written "poule," and English puol, written "pull."
The distinction between oo and uo is precisely the
same as between ce and t ai and e, au and o. But
a good imitation of uo (not of oo) can be made with
widely opened lips, and sung at any high pitch on
the scale, where oo cannot be touched. This sound
is therefore valuable to singers. It is a common,
fault to say ruom, suon, and evenfuod, with uo shoit.
in place of room, suon, food, with oo long. But
when "pull, full, could, would" are prolonged, the
singer should never say "pool, fool, cooed, wooed."
The words "wool, woman, would," present great
difficulties to Scotch arid Welsh, and even many
English speakers. The pure wuo should be heard
in each. In the provinces ^l and uo are constantly
interchanged, so that "bull" is pronounced "bul" in-
stead of "buol," and "foot" is pronounced "fut" in-
stead of "f uot." Observe that uo and not u should be
heard in bull, full, pull, (and their derivatives, bul-
lace, bullet, bulwark, bullion, fuller, f ullage, fullers,
Fulham,pulpit,pullet,butcher,cushion,cushat,sugar,
cuckoo, huzzar, huzzay! hurrah! push, bush, to put.
142
SIXTH STKV.
Ex. 2902.
The game of put has u. The word fulsome ia
pronounced both ways. All other words with M
short have M not uo. In blood flood, oo is sounded
u ; in soot both u and uo are heard.
Ex. 200. Comparison exercises, as above : pool
pull, fool full, cooed could, wooed would, shooed
should, food good, who'd hood, shoot put, goose
puss. Ex. '290A see above, Ex. 283.
o. as in nod, pond, stock, odd and dog. The
tongue, teeth and lips are precisely in the same po-
sition as for au, but the larynx is lower. Hence
this sound has often been thought to be the same as
ait short, and most elocutionists put it down as such
But if any singer inadvertently prolonged the name
of God into <iaud, he would feel ashamed of the ir-
reverence. The following exercise will shew how
the sense may be utterly destroyed by not attend-
ing to this distinction. The difference between au
and o, is of precisely the same nature as that be-
tween ee and ', m and;, ooand wo. Let the student
prolong odd, he will find it distinct from awed.
Next let him shorten awed as much as possible,
and he will not get odd. Foreigners usually say an
short in place of o, which is a peculiarly /
vowel. The accented syllable <>r when no vowel
follows is nearly always aur ; the au is long and
the r' should be slightly trilled for distinctness, though
it is frequently altogether omitted. The words
" soft, often, office, broth, groat, gone, cross," and
sometimes "dog, long," especially in America, are
pronounced with ax, but either o long, or no long
are preferable, and o short is much used, and is
indispensable in " dog, long." See prolonged o in
St. Co. Ex. 68, m. 2, "song," Add. Ex. p.l, m. 3,
"God,"p. 4,sc. 3,m. 2, "spot," p. 14,sc. 4,m. 2,"on.'
Ex. 291. Comparison exercises as above : odd
awed, pod pawd, sod sawed, holiday haul, Moll
maul, stock stalk, yon yawn, nod gnawed, fond
fawned, God gaud, pollard pall, rot wrought, hock-
ey hawk, solid salt, totter taught.
Ex. 292. Error exercises on the vowels. The
teacher sings on G the wrong pronunciation, and
the pupils immediately (on the same tone, and pro-
longing the syllables) sing the correct pronunci-
ation of that word, and of the other words like it.
" a/tone " atone, adore, among, alone, amaze, alarm,
awake, above, about, amidst. " Divert," divert,
digress, direct, divulge, engine. "Teatimoany,"
migratory, patrimony, dilatory, and matrimony.
"Cummand, 1 ' command, complete, comply, commend,
correct, and corrupt. "Goodni ss, ' ' goodness, endless,
St. Co. (New.)
matchless, boundless, anthem, forget, yes and in-
stead. " Evidwnce," evidence, silence, prudence,
ardent, excellent, providence, influence, content-
ment, judgment. "Regelar," regular, educate,
singular, articulate, perpendicular, particular.
" Fee-aar," fear, near, their, more. " Ai \\
a house, a mile, a town. "Thee bee," thu bee, thu
house, thu mile, thu town. "Thu evening," th<>e
evening, thee upper, thee open, thee apple, th
tumn. " Aimen," aamen. " Jeroosailum," JITIMI-
salem. " A nice house," an ice house. " A nox,"
an ox. " This sour," this hour. " Our roan,"
our own. "This sage," this age. " On neither
side," on either side. "Bear u sonward," bear us
onward. " Tai kit," take it. " Ree din," read in.
"Glory yand honour," glory and honour. "The
glory, ooand the power," the glory and.
Note that in the solemn style of music, the word
"my" is pronounced fully, but in the familiar
style, as it is in the last syllable of " clammy,"
" mummy," " Tommy," that the termination "ed"
is in sacred music sung as a separate syllable.
that the word " wind" is sometimes in poetry pro-
nounced weind, that the word "heaven" is some-
times pronounced as one syllable, and sometimes as
two, and that when pror.ounced in two syllables,
the second should be very lightly dwelt upon.
Diphthongs. There are four principal diph-
thongs in the English language ; ei as in height, oi
as in foil, im as in foul, and eu as in feud. It will
be convenient to treat along with the Diphthongs
the vowel no, as in pore, because although it is not
a diphthong it is used in English only as the first
element of one. A diphthong is not merely two
vowels put close together. The word " cawing '
might be repeated ever so quickly without its two
vowels producing the sound of oi as in "coin.' 1
The two vowels must be cemented and bound to-
gether by the Glide already explained, p. 61.
Thus in the phrase " pap is a Tonic Sol-ii'st,"
we have two cases of vowels put close together.
The second vowel in each case has a clear separate
"attack." If we allowed the voice to continue
while the organs are passing from one vowel po-
sition to another, we should make these double
vowels into diphthongs, thus, " papeiz a Tonic Sol-
feist." Let it be noticed that the common letters *
and M, as usually pronounced, are really diphthongs
though single letters, and that the sounds au, ee, etc.,
are simple vowels although they have two letters, and
are hence properly distinguished as Digraphs. One
Ex. 2936.
-SIXTH STEP.
143
ol the vowels which form a Diphthong is much
shorter than the other. In a Diphthong, the Glide
which is the characteristic part should always be
longer than the shorter of the two vowels, and one
of the two vowels should he formed hy a closer ap-
proach of the lips or of the tongue and palate to
each other. It is important to nbtice that the ac-
cent is generally laid on that vowel which has the
widest opening.
ei. as in I, eye, isle, buy, tie. This diphthong
is very variously pronounced in speaking. The
second element is always the same, i, not the foreign
sounding ee. The first element, although it has
the principal stress, is extremely short and diffi-
cult to catch, but is generally u, ' (not it) or aa.
The stress suggests to the singer that the first vow-
el should be dwelt upon, but its indefiniteness, as
fcpoken, leaves him to chose his own vowel, and he
selects the beautiful aa. The Glide between aa and
t should be very marked. When ei has to be sus-
tained, in 'singing, prolong the pure aa sound, and
finish rapidly, clearly and distinctly with the glide
and t. See St. Co. Ex. 65, sc. 2, Ex 116, last word.
Ex. 293. Sing the following pairs of words on
any tone, beirg careful not to raise the pitch on the
final sounds. Sing the first word of each pair as
short, and the second as long as possible. Pie pipe,
buy bribe, tie tight, die died, fie fife, thy scythe,
sigh size, sly slice, my mine, nigh nine.
oi in boil, boy, buoy, buoyed, toy, toyed, quoit, coin,
joy. The proper first element of this diphthong is o,
not au, and those who have learnt to prolong o will
find a great refinement from its use, but others may
use CM. Even in speaking, the first element is some-
what prolonged ; much more so in singing. Avoid
the vulgarity of singing oi as ei. See cases in St.
Co. Ex. 134, 174. When oi occurs before a vowel
as in " toying," sing oi distinctly and commence the
next syllable with y thus toi-ying.
Ex. 294. Sing on any tone or group of tones
the following words. Anoint, ointment, oil, boil,
broil, coil, foil, foist, froise, groin, hoise, hoist, join,
joint, joist, loin, moil, point, poise, poison, soil, spoil ;
destroy, decoy, loyal, royal, voyage.
ou as in thou, how, npw, cow, out, down, town,
plough, round, house. This diphthong resembles
ei in character. The first element is the same as in
ei, and is always short in speech, having the stress.
The second element is always uo, and may be
lengthened in speech. Do not use the foreign oo for
St. Co. (New.)
uo. In singing select aa as the first element, and when
the diphthong has to be sustained, prolong the pure
aa (taking great care not to round the lips before
the glide), and finish rapidly, clearly, and distinctly
with the glide and uo. Be careful not to lower the
pitch in finishing off with uo. The rule of making
aa always the first element will prevent all sorts of
vulgarities and provincialisms. See cases in St. Co.
Ex. 80, 134.
Ex. 295. Sing as in Ex. 267, descending on ei
and ascending on ou : how hound, now noun, cow
cowed, about out, found out, round about, round
sound, thou doubt' st, cow house.
eu in pew, imbue, tune, dew, cue, few, view.
This diphthong is always preceded by a consonant.
In wnite, wnion, wse, &c., a y is always prefixed in
speech. The first element is i which is always
short and without stress. The second element is oo
and in' accented syllables, is long, having the stress,
but in unaccented syllables, as dotranent, may be
short. The glide from i to oo is very short, but
longer than the i which is just touched. To make
the first element long, as ee with the stress, in tree-
oo See-oo-zwt for "true Susan," is a great vulgarism,
especially offensive in singing. This diphthong
always becomes oo after r , as rue, imbrue, crew,
etc., but not after /, n, s, z. In singing, dwell on
the second element. See cases St. Co. Ex. 146,
score 2, Ex. 174, score 9. Be careful not to change
t and d into ch and j before eu, and not to pro-
nounce - ture, - dure, - as in nature, verdure, either
as - chur, -jur, or as -tur, - dur, but keep the t, d
and the diphthong e>t quite pure in singing, what-
ever may be your practice in speaking.
Ex. 296. Sing as above : lieu, lute, illumine,
new, news, nuisance, newt ; sue, consume, resume,
pew, tune, dew, cue, few, view.
ao as in roar, tore, ore, more, four, is never u-sed
in received English except before r, forming part
of a diphthong, and is hence placed here. But it
is a pure vowel in itself. The tongue, teeth and
lips are precisely in the same position as for on ; but
the larynx is more depressed and hence the pitch is
naturally deeper. It may be obtained by pronouncing
oa and thinking of aa. If the student will sing aa to
a very prolonged tone, and first round his lips and
then open them successively, without interrupting
the tone or in any way changing the position of his
other organs, he will pronounce aa, ao, aa, ao,
alternately, and gain much knowledge of the effect
144
SIXTH STEP.
Ex. 2978
on vowel quality produced by rounding the lips.
When clearly produced, an is a. very beautiful
vowel, much finer than either au or oa. It is very
eommon in the provinces in place of oa, it is the
true Welsh o long, it is the Italian open o, and is in
general use on the continent. It may be used to
replace oa in low pitches, but never when pure oa
it be produced. It always replaces oa before r,
and is sometimes used in place of o or an in such
words as "soft, often, office, broth, gone, cross."
It will require some practice for the pupil to hold
the fixed position of this vowel. The learner will
1)0 assisted by remembering some familiar word in
which it occurs. It is important to distinguish
such words as moiv-er, one who mows, from more, as
in the Comparison exercises ; the first words have
"a and two syllables ; the second ao and only one
-syllable.
Ex. 297. Practise this vowel in the key of F
in the manner described above.
Ex. 298. Comparison exercises as above : bloro
Mower, ore ower, tore tow-er (one who tows), gore
x;oor, roar rower, hoar hoer, shore shewer, lore
lower, sore sower, more mower, store stower.
Other Diphthongs such as ai-i in day, oa-uo in
known, i-u in beer, c-u in bear (see Ex. 279), ao-u
in boar (with the above vowel ao in place of oa),
HO-H in boor, need not be separately practised.
The singer should in the four last cases always
trill the r even when final, at least slightly.
And when r comes between two vowels as in weary,
.l/ary, glory, ho should bo careful never to omit the
glide to u ; wee-r'i is Scotch, Mai-ri is very vulgar,
:ind yloa-ri is old fashioned.
The South of England custom of ending at with
:i vanishing i and oa with vanishing no, rather
spoils the vocal effect. Hence it is best to practise
avoiding it in singing.
Special Forms of vocal music.* Of the various
forms of vocal music adapted to special purposes,
the simplest is,
The Response. Tills may bo only the word
'Amen," on one tone and in unison, or the same
harmonized, or it may be a more lengthened sen-
tence like the responses after the commandments.
1 n any case, if a response is intended to be really
sung by the whole mass of a congregation it must
be as simple and natural as the " Gregorian tones,"
and must have a pitch and range easy to all kinds
of voices. A. humble full-voiced unisonous
"Amen" cannot be got at a higher pitch than E
orF.
The Chant. The practice of reciting a verse of ;i
Psalm on one tone and ending each recitation with
a natural cadence was older than Gregory or even
Ambrose. It is the "form" of every exiiii s
speaker. Its essentials are a reciting-tone and ;i
cadence. The length of the reciting-tone depends
on the length of the words. The cadence m:.
of one, two, three or more tones. The regular
form of the Anglican Chant (a reciting-tone with ;t
two-measure cadence, followed by another with a
three -measure cadence), p. 35, originated in
England at the time of the Reformation. It has
as much variety and beauty as can be desired in so
elemental a form, but tho reciting-tone is often
placed too high or too low for tho common voices
of the people and the cadence is often made too
wide in its intervals to be smoothly sung, thus
unfitting it for its proper use. Instructions in
chanting are given, pp. 36, 27, 59, 63, 47, 82, 93.
Hymn Tunes. There were metrical hymns, as
distinguished from prose chants, in the earliest ages
of the Christian church, and although " time " and
"measure" were not then written in music the
tunes for these hymns were necessarily miny with
the accents and measure of the hyrmis. At the
time of the Reformation many of tho old Latin
hymn-tunes were revived, and others made. Thu
attempt to sing them with large masses of voices,
in simple people's harmony, encouraged musicians
to study tho progression of plain sustained chords,
and so helped to form modern harmony. It is still
this march of plain chords which is the glory of
the hymn-tune. Tho introduction of chromatic
resolution of unprepared discords other than those
which (like 7 S, 7 T, i**M, and 7 SE) are familiar to
the common ear of difficult transitions and modu-
lations like those in tho Tonic-minor, of the sharp
sixth of the minor bah, except when moving from
and to the seventh se, of extreme compass for the
" parts," and of difficulties in time is ruinous to
the congregational character of a psalm or hymn-
tune. Let not the precentor be misled by the great
names of composer, or harmonist attached to such
tunes. Very few great composers ever taught a
psalmody class or took the trouble to make them-
selves acquainted with the capacities and incapac-
ities of the common people's voice. We have
many hymn-tunes for the Organ and many for tha
Choir, but only a few for the People.
St. Co. (New).
' Musical Theory," Book m., treats this subject more fully.
SIXTH STEP.
145
The speed at which a hymn-tune is sung affects
its harmonic character its rhythmical impression
and its adaptation to the emotion of the hymn.
When a tune before sung at moderate speed is
sung very quickly, every two pulses (in two and
four-pulse measures) or every three-pulses (in three
and six-pulse measures) become practically to the
ear, one-pulse, and the harmony should be altered
accordingly ; the chords being made to change less
frequently, and many "passing tones" allowed.
Thus if "Jackson's," p. 2, were meant to be sung
rapidly, as a la, la, la tune, the chords would have to
be changed once in a measure (as they do in dances or
quick marches) instead of twice; and if the
" Waits," p. 8, were altered, by exceedingly slow
singing, into a mournful hymn-tune, the chords
should be made to change twice or three times as
frequently as now so as to suit the slow and sol-
emn tread of the music. To sing at great speed
a tune harmonized for slow singing, and changing
its chords at every pulse, produces a heavy jogging
effect. To sing slowly a tune harmonized for speed,
produces a drawling effect. The precentor must
look to his harmonies.
The more rapidly a tune is sung the more marked
is the rhythm, and the greater necessity for Rhyth-
mical Balance and proportion between the lines.
The popular ear demands this balance. Witness its
delight in dance-tunes and marches. If the tune
books do not make the lines of equal length, it will
be easy for the Precentor or Organist to do so, be-
cause ''balance of rhythm" comes naturally to the
people.
In selecting a tune for a hymn, the Precentor
will have to consider what is the general sentiment
of the hymn. He will find it convenient to clas-
sify hymns as first, the bold and spirited, second
those expressive of cheerful emotion, third those
which are didactic and varied in character, and
fourth those which are solemn and prayerful. To
the first class of hymns, tunes in two or four-pulse
measure, moving somewhat quickly, and having
doh, me, and soh placed in effective positions in the
melody, are well adapted. Tunes of this character
when sung very slowly and firmly, change their
effect into the grandly solemn. To the second
class of hymns, tunes in three or four-pulse measure
having te, ray, //zand lah placed in the mosteffective
positions, are well adapted. These cheerful tunes can
be changed by slow and firm singing, not into grand
tunes,but into prayerfully solemn tunes,of the fourth
St. Co. (New.)
class. To the third class of hymns, tunes must Lo
adapted which give no special effectiveness in their
melody either to the strong or to the leaning tones of
the scale. These non-emotional tunes have generally
a step- wise melody, and they cannot bo much al-
tered iii mental effect by speed of movement.
Different speeds are used for the same tune in
different places, but the natural force of habit pre-
vents any great change of speed in the same tune
at the same place. To some extent however change
of sentiment from verse to verse may be indicated
by change of speed. If the congregation are ac-
customed to the ways of their precentor, a bold
tone or two from his voice will rouse them into
spirited expressions as by electric sympathy ; and
a pause after a verse will easily suggest that the
precentor desires the next Terse to be sung softly
and more slowly. This art of adapting music well
to the words is a great secret of spiritual success in
the precentor's office.
Anthems differ from hymn tunes in giving mu-
sical expression to particular words rather than to
the general sentiment of a hymn of many verses.
See "Hear me when I call" p. 17, and " O Saviour"
p. 85. The anthem is free to introduce repetitions
of music and words, the silencing of parts, and fu-
gal imitations, which are inadmissible in a hymn of
many verses. Although these contrivances are es-
sentially characteristic of an Anthem, they must
be carefully used in one which is intended to be
sung by a whole congregation. It will be well not
to leave the tenors or contraltos, who are often
weak in a congregation, to take the lead in a fugal
passage, and it is unwise to attempt a fugal entry
on a half -pulse, or to introduce any other perplexity
of the time. The Motet is the ancient form of
the anthem. Anthems often consist of various dis-
tinct movements, with changes of key and measure
and speed, one movement being so contiived as
to set off by contrast the other movements. Cathe-
dral anthems are written for choirs which are seated
in two divisions, one on the Dean's side (that is on.
the right hand as you enter from the nave) called
Decani; and the other opposite on the Precentor's
side called Cantoris. Some parts of the anthems
are sung by the full choir (marked" Full"), and
other parts antiphonally, that is alternately by the
two halves of the choir. Portions marked "verse"
are to be sung by one voice to each part. Thcso
anthems also include solos, duets, &c., and bold rc--
citations in unison, which are called choral recitu-
146
SIXTH STEP.
tives. Anthems are generally intended to be sung
with organ accompaniment, though many of the
full anthems may he well performed without it.
The Madrigal is the oldest form of secular vocal
music in parts. It partakes of the old style of har-
mony, abounding in fugal entry and imitation.
No one part predominates over the others, but each
takes its turn in specially claiming the ear of the
listener. Any number of voices may join in a
madrigal. The same style of music was used in
the old anthems, of which "Bon accord," p. 11, is a
short example. Some quaint point of sentiment at
the close often characterizes the madrigal. There
is no good example of a madrigal in the Additional
Exercises. " The time for joy" p. 15, is the near-
est. See however examples in the Tonic Sol-i'a
Reporter "In going to my lonesome bed" No. 6S,
"The Silver Swan" No. 274, and "Flora gave me"
No. 287. Many pieces are called madrigals which are
only harmonized airs, such as " My lady " \>. 21.
A light form of the madi7 jal is the Jiatlet, which
was sung chiefly to "fal-la," as an accompaniment
to dancing. Instrumental accompaniment is out
of place in this class of music.
The Glee is a musical form of English birth. It
is meant for single voices, and therefore gives each
an opportunity of display, and develops every nicety
of time and tune. It is commonly extended, like the
anthem, into several distinct movements, one reliev-
ing, by its variety of style, the general effect of the
others. See "Swiftly " p. 29, " Come let us all"
p. 24, "The Spring " p. 50, "Awake" p. 62. "The
Stout limb'd oak " p. 77, and " Ye spotted snakes "
p. 81. These glees will boar a number of voices on
each part, though great care should be taken to
secure unity and delicacy. But many glees con-
tain too minute divisions of time for this. Instru-
mental accompaniment was never intended for such
glees and would defeat their object in displaying the
Toices. But accompanied glees have been written
by Sir Henry Bishop and others, in which the in-
struments play special parts and produce special
effects.
The Part Song differs from the glee as th Hymn
tone differs from the Anthem. The Part Song
and Hymn-Tune repeat the same music to several
verses, which the Glee and Anthem never do. The
Part Song is claimed as of German birth. It is
intended to bear many voices on each part. It
differs from the madrigal in not admitting so much
of the fugal style, in depending more upon modern
St. Co. fNew.)
choral effects, and in permitting the upper JKU-I
generally to predominate. Specimens of th<
man part songs are to be found on pp. 1. : .
13, 14, etc. The Part Song as naturally
England, is to be seen in " Sunshine after rain ' ' p.
44, and " Harvest Home " p. 39. The greatest
refinement of this style is to be found in the com-
Switions of Mendelssohn (pp. 71 and 79) and
enry Smart (pp. 45 and 88). The Hmmom:,,!
Air is practically a part song, but from the nature
of its origin a greater comparative interest attachep
to the melody. See the examples on p. 12 and pp.
57 and 65. rhe plainer part songs, like those first
named, would bear accompaniment, but are better
without it; suchpart-son^.sas those of Mendelssohn
and Smart with their fine development of voice
and expression, would be injured by it.
Oratorio Choruses are meant to be sung by lun/e
- of voice, and to receive full band accompa-
niment, though the harmonies are generally com-
plete without it. See " Hallelujah " p. 26, "How
lovely " p. 58, and " Theme Sublime " p. 66.
Operatic Chortles are generally of a light style
requiring accompaniment, but not a great mass of
voices. See examples in the Tonic Sol-la Reporter,
"Market Chorus," No. 487 and"Carnovale," No. 142.
A Canon is a fugal imitation in which the music
of the leading part is imitated through its whole
length in the other parts. A fine example is "Thou
shalt shew me" p, 7. It has four voices engaged
on two subjects and is called a Canon " four in
two." The leading subject is announced by the so-
prano, and continued to the first note of the second
score of p. 8, after which it is repeated as far as its
first cadence. This leading subject is again taken
up by the tenor, but not till after six measures, and
is carried on to the end, the tenor having time only
just to commence its repetition. Meanwhile the
counter subject has been announced by the contralto
in the third measure. This is carried on to the end
of the first measure of the second score, p. 8, the
contralto having time to repeat nearly half of it.
This counter subject is imitated by the bass, also
after six measures. The bass has no time for repe
tition. The Counter Subject in this case closely
resembles the leading subject itself, and may be
called a "fugal imitation " of it. A A'owW is a
canon with one subject, and in one " part 1 ' which
is taken up successively by the different voices.
SIXTH STEP
147
A. Fu//ue does not' require its subjects to be imi-
tated exactly as in a Canon, or through their whole
length. But it is a more lengthened piece and is
moiv varied in the treatment of its subjects. It
allows the parts which are not engaged upon the
subject to sing beautiful phrases, as Accompani-
ments, which should be delivered in a subdued
manner. It also permits short interludes or dis-
tinct Episodes, and various kinds of Closes, in
which the Subject does not necessarily play any
part.
The ssent.iah of a Fugue are that there shall be
a Subject and a Response, carried through the
various parts of which the music consists, and that
this Subject shall be the main point of interest in
the whole movement. Some make a counter sub-
ject essential to the Fugue. Others say that there
is no Fugue without a Stretto(see p. 105), and others
again require for their true Fugue an Organ-point or
Pedal. But the strict definitions are practically in-
convenient. It is difficult to exclude from the ca-
tegory of Fugrues any piece or movement the whole
frame work of which is evidently built on some
one Subject and Ilespon.se. According however
to our own definition, " Hallelujah, Amen," p. 26 is
not a Fugue ; for though it has a Subject in the
first two measures which is simply repeated in the
next two, and has a proper Response starting from
a fifth above in the Soprano, and although the same
subject is again announced in the Bass of sc. 4, and
has again a Response a fifth above in the Tenor,
and once more re-appears at the bottom of p. 27, yet
the Subject is not carried through the parts in turn,
and it is not made the principal point of interest
in the greater part of the Chorus. Such pieces
may be called Fugal passages or movements, but
not Fugues. Two smaller passages of the same kind
are in " Bon Accord" p. 11, and "Hear me" p. 19.
The Subject is a Phrase (seldom extending to a
Section) of melody, which is imitated (more or
less perfectly) in its rhythm or melodial waving or
both in the after parts of the Fugue. It is of such
2haracter as can be easily recognised by the ear
when it re-appears in different parts and in different
keys. In the more complete Fugues it is imitated
by the several parts successively, and that several
times over in different ways. Each time of its
being " carried through " the parts is called a new
" Unfolding " of the Subject.
St. Co.
The Response or Answer is an exact or nearly
exact Imitation of the Subject. It generally com-
mences, the first time it is made, on the fifth above or
the fourth below, or in the octave. Afterwards it
may commence on the same tone as the Subject or on
the 1st, 2nd, 3rd, &c., either above or below. It
may be by contrary or similar motion. It may be
in equal length of tones, or expanded or contracted.
It may also be with contrary accents (per arsin vt
thesin], the Subject and Response beginning one on
the weak and the other on the strong pulse.
The Counter Subject is really an Accompaniment
to the Subject or to the Response or to both. There
is often however no distinct Counter-subject, but
the Accompaniment varies. On the other hand
there are sometimes several Counter-subjects in
different parts. A good illustration of the Counter-
subject is in the first movement of " Theme sub-
lime," p. 66. The Subject (of three and a half
measures) is announced in the Contralto, with a
Counter-subject in the Soprano. The Response is
immediately given an octave below by the Bass,
with the same Counter-subject above it in the Tenor,
Next the Subject appears in the Soprano, sc. 2, with
the Counter-subject below it in the Contralto. The
two are inverted. Then comes the Subject in the
Bass again altered in its first interval, with the
Counter-subject in the Tenor. And lastly the al-
tered Subject comes in the Soprano again with the
Counter-subject under it in the Contralto. This is
not quite a perfect " carrying " of the Subject
" through" all the parts, and several other elements
of Fugue are wanting ; but as, with the exception
of a little play of the Accompaniment and a ca-
dence, there is nothing else in the movement but
Subject, Counter-subject and Response, we prefer
to call this a Fugue.
The Stretto. The Response generally commences
the first time it is made, after the Subject is completed,
but it often commences with the last pulse of the
Subject and sometimes earlier. In the latter parts
of a Fugue it greatly adds to the excitement and
beauty of the music when the Response appears in
one part before the Subject has come to a close in
the other. This drawing closer of the answer to
the beginning of the Subject is called Stretto.
Sometimes there is more than one Streuto, the Res-
ponse coming each time closer to the beginning of
the Subject.
148
SIXTH STEP.
Organ Point or Pedal, Complete Fugues, after
i 'luploying a vast variety of contrivances for shewing
>tf in various lights their Subjects and Counter-sub-
jects, often conclude with a long holding tone, com-
monly in the Bass, called an Organ Point, which
Hoods with its grand sound the last parting phrases
of their various themes. There is such an Organ
Point in the close of "How lovely " p. 61, but it
is placed in the instrumental part.
JVb Complete Fugue is to be found in Additional
Mxercisee, but there arc interesting illustrations of
t he less regular forms which should be carefully
-tudied, each student being able to answer ques-
iions upon them. In the second movement of
' Theme Sublime " p. G7, the Subject is " carried
through " all the parts twice, first in the order,
I lass, Tenor, Soprano, Contralto ; then in the order,
Soprano, Bass, Tenor, Contralto. It then occurs
again, p. 68, sc. 1, m. 6, in the Bass and is answered
in the Soprano.
In the third movement p. GO, sc-. 1, m. 7, a Sub-
ject (of six and a half me asures) is announced in
the Contralto. The Response comes (with a Strctto
of one pulse) in the Soprano sc. 3. It is taken up
again (with a Stretto of one pulse) in the Tenor,
sc. 4, but here the close is altered to accommodate
1 he Bass which wishes to enter at the fifth instead
of the seventh measure. After being thus " carried
through " once, the subject re-appears slightly al-
tered in the Soprano at the end of sc. 5, with the
same Stretto which the Bass secured. Then fol-
lows a digression or episode of sixteen measures,
containing the first four tones of Subject and Res-
ponse fugally treated in Tenor, Contralto and So-
prano. At the bottom of p. 70, the contracted
.Subject re-appears in the Contralto, and is again
" carried through " the Bass, Soprano and Tenor,
but with ever shortening proportions, the close of
its melody being broken off to mako way for the
cadence
In " How lovely " p. 58, a Subject of eight mea-
sures commences in the Contralto, and after a full
measure' s interval the Bass takes up the Response an
octave below. After a measure of interlude there
enters p. 58, last score, an Episode of ten measures
containing imitative passages, and passing into the
lirst sharp key. Then p. 59, end of sc. 2, the Sub-
ject re-appears in the Tenor, but only the first half
of it. Before this is concluded the Soprano takes
up the Subject for the same length, but omitting
the middle part gives only the first and last portions.
With a very close Stretto (after only one measure)
the Tenor again introduces the Subject in the saino
way as the Soprano. At the bottom of p. 59, is r.
brief interlude. On p. 60 a new Subject is introdu-
ced in the Soprano with a Counter-subject in the
Tenor ; to which there is immediately a response
in the Contralto with the same Counter-subject in
the Bass. Then follows an Episode of fourteen
measures containing phrases imitating those of the
previous Episode. Once more softly and alone t>.
61, sc. 2, about three quarters of the original Sub-
ject is delivered by the Contralto, but before it is
finished the Soprano takes up its closing 'phrases,
and the Tenor re-echoes them. A short cadence
concludes the piece. In singing music of this land
it would be well for the Singer to mark in his own
part, all those passages or phrases which contain the
Subject, the Response, or the Counter-subject, and
to sing them with clearness and vigour ; singing
everything else except the Episodes in a very soft
and subdued manner.*
Recitntii-e is a sort of artificial declamation, in
which the singer endeavours to imitate the inflec-
tions, accents, and emphasis of natural speech. It
differs from the recitation of a chant, chiefly in
changing its key frequently, more frequently indeed
than is common even in the wildest and most im-
passioned speech that is unconnected with music.
Instruments (one or more) are employed to an-
nounce, and sometimes sustain the chords of each
new key. The length of the notes in a Recitative
are intended by the composer only as approxima-
tions. The singer delivers them absolutely accord-
ing to his own fancy. He makes them long or short,
quiet or impassioned, just as he thinks best. He
must avoid the regular rhythm of an air. Ho must
simply express with energy and propriety, what-
ever passion there is in the words. Recitatives
serve to connect the different parts of an Opera, an
Oratorio or a Cantata, by the narration of events
or the suggestion of sentiments which carry on
the story.
An Opera is a play in which the actors sing in-
stead of speaking their parts, and which is accom-
panied throughout by a band. While developing
some exciting story, it gives opportunity for the
introduction of a great variety of musical forms.
It might be supposed that this union of four arts,
poetry, music, painting, and acting, to excite lively
St. Co. (New). * See other examples of Fugue analysed in " Musical Theory," Book m, pp. 223 & 22ft
Ex. 299.
SIXTH STEP.
149
interest and illusion, would elevate all the arts thus
employed. But it is not so, because the human
mind cannot appreciate the highest excellence in a
number of arts at the same time, and the arts of
acting and singing sadly interfere with one another.
Hence, neither the best poetry, the best painting,
the best acting, nor (except in solo singing) the best
music are to be found in the Opera. For the best
music wo must look to
The Oratorio. This is a sacred opera, without
scenery or acting, in which music enjoys its full
and undisputed sovereignty. It develops some
sacred story by means of recitatives, songs, duets,
trios, quartets, and single and double choruses.
Choruses are more used, and solo voices, less than in
the Opera. The attempt to bring an ordinary
Opera into this pure sphere of music "by singing it
without the action and the scenery, only tends to
shew how much exciting Operas are dependent on
sensuous effects for their popularity.
The Cantata. This, if a sacred one, is a short
Oratorio, if on a secular theme a short Opera,
commonly without scenery or action.
Music for equal voices. In England and in the
United States most part singing is done by Mixed
Voices that is, by Male and Female voices together.
This is best, both socially aud musically; but it
cannot always be attained. It is therefore desir-
able that women in their work-shops and men in
theirs should have music specially harmonized for
them. Our Tonic Sol-fa composers are rapidly
using their skill to supply this want. Mr. Callaway
has done our young men great service ; and his
investigations and historical enquiries on the sub-
ject have contributed much to the value of this
work.
Choral Contrivances. As we have often had oc-
casion to notice that some even of the great com-
posers are quite cruel in their demands on the vocal
compass, it is equally fair for a Chorus-leader to bor-
row a few voices from one part to assist another for
a phrase or two. Thus the Tenors may aid the
Contraltos when their part lies too low, and the
Contraltos may assist the Tenors when their part
is too high, and so on.
The Resonances. If one takes a wide organ pipe
or a wide brass instrument, which is of the same
length as a narrow one, the pitch of the two will be
the same, but that quality which arises from the
resonance of air in the tube will be different. The
wide resonator will give a pure but somewhat dull
St. Co. (New.)
and sombre tone. The narrow resonator will give a
more marked and clear sound. So does the shape
of the human mouth, in singing, affect the cha-
racter of the sound. A full distended mouth givr*
the Sombre Eesonance, fit for wailing awe and la-
mentation. A narrowed mouth gives the Clear
Resonance, well suited to aid the expression of joy
and exultation. A medium shape given to tho
mouth adapts it for quiet peaceful songs. Sing tlio
following phrase, 1st to the words, "Hark, the
voice of Rachel weeping," 2nd to " See the con-
quering hero coming," 3rd to " Sweet and peaceful
is our meeting."
|d :s |f :r j r :f | n :d ||
It is important to cultivate the medium resonanco
as a habit, from which to vary as the sentiment
requires. Some persons always use the sombre
resonance, and utter every sentiment with the
same dull face and tone.
Ex. 299. Say, with which Resonance each of
the following songs should be sung, and give your
reasons for the decision, "Night around" p. 22,
" Angel of hope" p. 48, and " Home" p. 74.
Breathing Places. In addition to the sugges-
tions already made for the choice of breathing
places, pp. 16 and 30, it should be noticed that the
little step of the scale f m, t d 1 , fe s, de r, ta 1, etc.,
is always most effectively delivered when the first
tone glides into the second; we should therefore
never take breath between two such tones. For a
similar reason we should not take breath between a
dissonating tone and its resolution. It is absolutely
necessary to take breath before a crescendo or swell
passage, or before any long holding-tone, or before a
passage of quick tones "a division," as it is called.
Care must be taken always to do this rapidly and
easily, so as to interfere as little as possible with
the preceding rules.
" The mouth," says Dr. Mason, " should retain
the position it had while performing the previous
note, and by no means form itself into the shape
necessary for the following note ; neither must the
mouth be, at all, closed while taking breath."
There should bo no sobbing or catching noise in
the inhalation. " Emission of breath," says Sabilla
Novello, in her " Voice and Vocal Art," "should
be made as tardily as possible, and the student will
do well to consider breath more as a propellant
power which sends forth sound by remaining behind
it, than as the sound itself The chest
and the muscles below it should be TtfffAptmuMtntly
150
SIXTH STEP.
expanded. Fresh supplies of air will thus be more
rfttdily admitted, afld subsequently remain longer
than if the walls of the chest are suffered to
collapse."
Portamento, or the carrying of the voice from
one tone to another, is made by a rapid and con-
nected glide, or more properly by a slur, see p. 96-
The voice passes through all the tones of the inter-
val, but with * relaxation, in the emission of
breath. This, in solo singing, and after a long and
careful practice, may be made a very beautiful
ornament; but the lazy imitations of it common
among chorus singers, are discordant and disagree-
able to all except the self-satisfied singer. It will
be useful, howeVer, to the chorus singer in cases in
which the musical phrasing differs from the verbal.
By a careful Portamento the musical connection
may be retained while the verbal distinction is
made. There can however be no breathing place
in a Portamento.
Voice Training. It is only to a small extent
that voice training can be carried out in class,
but the experience gained in a well trained class
will encourage many pupils to seek additional
Sntctise under the watchful ears of a master. The
itnculty of voice exercises in a mixed class arises
from this, that each of the Seven "Parts" (See
p. 106) requires to cultivate a different compass,
and that voices singing the same exercises, an
octave apart, must usi> diffVr^nt registers at the
same time. It would therefore be nec"8sarv, (if
breaks and registers are to be watched) to divide
the class into Seven or at least Four parts, and the
rest of the parts would have to sing "a second"
toftly while the teacher was attending to the one
which performed the exercise. Only where the
pupils themselves are intelligent and observant
itudents of their own voices can voice-training in
class be profitable. In ignorant and careless hands
it may destroy voices by forcing them up into un-
natural registers. No teacher should attempt to
carry pupils far in these studies who has not
patiently examined and reported on every voice in
the manner described at the last step. It is well
for the student to know at once that the secret of
success will not be in the partie ilar form of his
exercises, or in the multitude of them, or in their
being written by this man or the other. but in
their being frequently used and perfectly worked
through. G ustave Nauenburg, in his " Daily Sing-
Rtudies for all Voices,' says " The celebrated ginger,
Farinelli, was already reaping the first fruits of his
fame, when he visited the singing master Pistocchi,
to ask his unfettered judgement on his past per-
formances. Pistocchi said, 'Nature has lent you all
the qualities of an artist in song; with properly
conducted Voice-forming Studies you would become
a truly great singer.' This was not the answer
Farinelli had expected ; but inspired with a wish
to attain the highest point in his art, he begged
that he might pursue his studies with the worthy
master. Pistocchi accepted the anxious scholar.
The studies which Farinelli daily practised with
persevering zeal, were all written on a si>i/ile sheet.
In a year's time the master dismissed his pupil with
the character of an accomplished singer. 'What
can the exercises on that sheet have been?' has
often been asked." This question Herr Nauen-
burg answers by saying that doubtless they were
such as would daily, 1st, Tune the voice to the
different chords. 2nd, Strengthen it (securing equal
strength for all its tones), and 3rd, Give it Flexibi-
lity. To these objects of Voice Training M. Seiler
has taught us how to add Quality. Herr Nauen-
burg published on a simile sheet a few simple and
easily remembered exercises with these ends in view,
and the exercises of this work, seeking strength
and flexibility, are chiefly copied from his.
Manner of using voice exercises in class. The
exercises used thus far have not had a range above
Fj{ for males and ono-FjJl for females ; so that none
of them except tli> Rejrinter themselves
have passed over any difficult points of breakage
in the registers. But the pupil has now learnt how
to study his own voice more minutely, and wishes
to cultivate it to the fullest extent. He will see
(p. 106) that the range of tones to be cultivated
and the registers and breaks to be studied differ
with each kind of voice, and for each new key In
will have to "Sol-fa his breaks" (p. 110) afresh.
If the pupil stands in front of a large Voice Mod-
ulator,* ho cannot miss teeinrj, while he sings, the
Register he is in and his place of break ; but it
may be useful to state distinctly what are the keys
through which each of the following exercises
should be worked by each different sort of voice,
and what are the Sol-fa notes just below each
break in each key. Although the use of a Voice
Modulator render* all this unnecestary, it will serve
to show what minute care is required even whon
we make the imperfect division of voices into only
four " parts." Notice that the lower voices in each
St. Co. fNtu.J
Voice Modulator," price Is.
Ex. 300.
SIXTH STEP
151
part will have to be excused the highest tones, and
the higher voices must not be forced to the lowest
tones. It may also be noticed that each of these
exercises can be made into " flying exercises,"
passing upwards or downwards through all the
parts. For an upward flight, it is started low in
the Bass, caught up by the Tenors the instant the
Basses have finished, takings for d, and sung in the
new key, caught up again by the Contraltos in
the new dominant, and once again, in the same
way, flung to the top of the scale by the Sopranos.
For a downward flight the exercise will be started
by the Sopranos, and caught up by each lower part
in the 6'wAdominant key.
EXERCISES WITH RANGE OF A TENTH (Ex.
301 to 303), have to be thus worked.
Basses. Keys from F-two (F 2 ) to C-one (C ( ). In
F2 f ' is the tone below the break ; in G 2 r' ; in A 2
dl ; in B 2 1 ; in C, 1.
Tenors. Keys from C-one (C|) to G-one (G t ).
In C| 1 ; in D| s ; in E| f and r' are tones below
breaks ; in F| f and d' ; in G ( r and t.
Contraltos. Keys from E-one (E ( ) to B[?-one
(B^i). In Ej s and r' ; in F| s and d 1 ; in G| f and
t ; in A| r and 1 ; in B|?| r, s and r'.
Sopranos. Keys from B ( to Fj. In B ( d, s and
r' ; in C d, f and dl ; in D m, t and m 1 ; in E r, 1 and
r' ; in F d, s and d 1 ; in FJ d, s and d'.
EXERCISES WITH RANGE OF AN OCTAVE (Ex.
304 to 307), may be worked each in two higher
keys, as well as those given above.
Basses. Keys from F 2 to E|. In D| s ; in E ( f.
Tenors. Keys from C ( to B ( . In A ( d and 1 ; in
B, s.
Contraltos. Keys from E ( to D. In C d, f and d' ;
in D m and t.
Sopranos. Keys from B f to B|?. In G f and t ;
in A m and 1 ; in B[? r and s.
EXERCISES WITH DOWNWARD RANGE may be
worked thus :
Basses. Ex. 308. Range a tenth. Keys C down
to Ab| ; Ex. 309 down to F, ; and Ex. 310 from C
down to D|?|. No break.
Tenors. Ex.308. Range & tenth. Keys G down
to Efc> ; Ex. 309 down to B, ; no break ; and Ex.
310 from G down to A^,. In D m'.
Contraltos. Ex.308. Range a tenth. Keys BJ>
down to G. In B|? s, and r, ; in A 1 ( and r, ; in G
t, and f, ; Ex. 309, down to E|>. In F d and s, ; in
Eb 1 ; Ex. 310, from Bj? down to C. In F s, ; in E
fj ; in D m, s,.
Soprano*. Ex. 308. Range a tet.k. Keys G
down to E. In G t|, f ( ; in F d and S| ; in E s ( ;
Ex. 309, down to C. In D 1 ; in C d ; and Ex. 310,
from F 1 down to G. In F d', s ; in D m', m ; in C
d', f ; in B s ; in A ml ; in G f,.
Agility of Voice. Ease and flexibility of the
voice are commonly regarded as natural gifts, but
Madame Seiler has shown that they are really
dependent on the formation of certain habits in
the action of the vocal organs. In all groups of
tones rapidly succeeding each other, the vocal
membranes have to be set vibrating in short, quick
impulses, and after each impulse there is a natural
recoil like that of a gun after the discharge. The
breath retreating expands the windpipe, and
thereby draws down the larynx. These momentary
motions can plainly be seen outside the throat, so
that the voice-trainer can watch and see whether
his pupil is forming the habit on which is built
agility of voice. This will suggest the reason why
it is important that all exercises in agility should
at first be practised slowly and piano except in
the case of the Italians generally, and of individuals
in other nations, to whom the proper movements of
the larynx have already grown into a habit, and
seem to be natural and instinctive. Madame Seiler
recommends the employment of simple exercises,
using at first koo. See p. 14 and 33. Let each of
the following exercises, therefore, be first sung to
the syllable koo without slurs, softly and slowly,
second more rapidly and more loudly, tlurd
more so still, fourth to the open and more beauti-
ful vowel aa, on the word skaa-laa, with slurs and
expression as marked :
Ex. 300. KEYS B(7, up to F. M. 60 to 132.
:d,r,m
Skaa
:d
\ ( { :m,f ,s |f ,s ,1 :s,l ,t
l.t.d'it.d'.r'jd'
t, :d
laa.
Id
St. Co. (New.)
m'.r'.d'
Skaa
r',d' 4 t :
s ,f ,m :f ,n,r jd
laa.
m :t. id
SIXTH STEP.
Ex. 301. KE.YS B up to E. M. GO to 132.
tres - een - do.
:d,t t d
Skaa laa.
:d t, :d |r :m f :s |d
, M ,
r 4 d t r :m t r ,m |f ,n,f :s,r ( a
t, :d |r :m
dimin - tteii - do.
~= =:>:=>:>>
t.d'.t :l,t,l |s,l,s:f,s,f
Skaa
1
s :f
i,r |d
laa.
|d
Ex. 302. KEYS B up to E. M. 60 to 1GO.
) cres cen - do.
d .n :r .d |r .f :n .r
Skaa
PI.S :f .n |f .1 :s .f
s.t:l.s |l.d':t.
t.r'rd'.tld 1 :
laa.
f
d'.n'rr'.d' |t .r 1 :d'.t
Skaa
I :- is :-
di - min
1 .d':t .1 is .t :l.s
f .1 :s .f |n .s :f .n
do.
r .f :n .r |d :
laa.
t, :- Id :-
Ex. 303. KEYS B up to E. M. 60 to 160.
:d .n
Skaa
Id
r".f frT.s |f .1 :T.t
:d |r :n
.d':t .r 1
laa.
f :s |d
n'.d 1
Skaa
r'.t:d'.l It .s :l.f
t :
s .n :f .r |d
laa.
n :r |d
Ex. 304. KEYS B up to F. M. 80 to 160.
d :r,d,t, :d
Skaa
r rn.r.deir
n if.n.rein
f :s,f,n :f
s : 1 .s .f e : s
t :d',t 4 le:t
la,
d 1 :r' t d' t t :
Skaa
t td'.t.leit
:t t l,se:l
s :l,s,fe:s
f :s,f 4 n:f
n rf.nj-etn
T :n,r t de:r
SIXTH STEP.
153
Strength, of Voice. The following three exercises
are extremely difficult to perform well. They are
intended to strengthen the volume of pure vocal
klang to increase the retaining power of the chest
in holding a steady breath for about thirty seconds
and to cultivate the faculty of passing from
Forte to Piano and vice versa without losing pitch.
The Teacher will test the pitch of ach exercise as
it concludes. The pupil will bear in mind the
remark on p. 33 that strength is obtained by some-
what forceful exercise, and by the careful use of the
crescendo passage and the explosive tone, but
always be it remembered, with as little breath as
possible.
Ex. 305. KEYS Bb up to A. M. 60 to 132.
:d
-- -
r :n |f .s
1 .
t
d 1
|t .1
:s,f.n,r
j ji j
d :d ! |d
Skaa
...
.
.
.
.
laa.
:d
t, :d If
n :
|r
:
d :- 1-
( :d<
t .1 :s,f.n,r|d
r :
n |f .s
> > /rv
:1 .t d 1 :d (d 1
j Skaa
.
.
.
.
.
laa.
(:d
~~ '. ~~~
t, :
d If
: n : |
Ex. 306. KEYS Bb up to A.
M.
40.
~^
d :-
i
i
n :-
IS
:
f : |-
t : |1 : \
Skaa
.
.
.
_
m
_
.
rl
i ,
.
g
U . i .
s :f ( ri.r |d :
d :-
1
I
f :- H
.
laa.
Skaa
.
_
_
.
_
- id :-
f :-
1
i
: 1
:
fa :- |- :-" )
(l f :
I? :
r
.
d.t,.l,l
S| :
s , ._ { _ ._
M
.
-
-
laa.
Skaa . . . i
:
1- :-
li
1
s, :- [- :-
t, :-
- |r :
r ...
:
h : |r
d :t|.l||s,d : K
-
-
-
.
.
.
.
laa.
- 1 :
~ .
_ IB.A -
St. Co. (New.)
154
SIXTH STEP.
Ex. 307. KEY Bb to A. M. 72, 60 & 50.
Id' :-
t :1
is :f
n :r |d : :
Id :-
r :n |f
Skaa
.
laa,
Skaa
.
( Id :- - :-
- :- Id :- - :
Id :-
: i
< .^
P
/
P
/
1 :t jd :
d 1 :
: t : :
t :
1
laa,
Skaa
LAA,
Skaa
.
LAA,
- :- |d :-
n :
~ ~ ~^ r ^ ^~~ . ~~~
r :
:
f
P
f P
/
i :
1 :-
1 :-
s :- |- .-
s
: |
f
Skaa
.
LAA,
Skaa
LAA,
- :-
f :-
1 :-
n : |- :-
n
: 1-
:
r
P
f P
/
f :-
1 :-
n :- |- :-
n
1-
r
Ska,i
.
LAA,
Skaa
LAA,
:
T :-
1 : "
d :- |- :-
d
: |
:
t,
P
f P
f
r -
r :
Skaa
!" : ."
LAA,
d :- |-
Skaa
- : r
LAA.
1- -
ti :-
1 :-
d :- |- :-
d
: |
:
t,
f>
f P
/
n- -
r :
1 '"
n :- |- :-
n
i
f
1
Skaa
-
LAA,
Skaa
LAA,
( ~~ : ~
t, :-
1 :-
d :- |- :-
d
: 1-
:
1
P
f P
/
i 1- :-
f :
1
s : I :
s
: 1-
1
Skaa
.
LAA,
Skaa
LAA,
jl- :~
r :
1 :
n : I :
n
: i-
:
f
P
f P
f
/I- :-
1 :
1 :
t :- |- :-
t
: i-
- :
d 1
Skaa
.
LAA,
Skaa
LAA.
f 1 :
t :-
1 :
r : | :
T
: 1 :
n
1
'
St. Co. (New.)
SIXTH STEP.
Downward Cultivation of Voice. Nearly all the
exercises in voice training books are adapted for
the extension of the voice upward but the lower
tones equally require cultivation with regard to
strength, if not to flexibility. Mr. Proudman
found the following exercise very useful in training
Contraltos and Basses for the Paris Prize Choir.
To it are added two exercises from other teachers.
These exercises have added to them, here, an ac-
companying upper part to be sung piano.
Ex. 308. ores
d 1 :- i- :-
Skaa
d 1 :t .1 |s .f :n .r
cen - do.
If :-
111 :- .t.
dim.
n :r
J.P.
d :
laa.
in :
Ex. 309.
d 1 : it :-
d 1 :t .1 |s .f :n.r
Ex. 310.
n : | :f
d :m |d :si
|r : |d
!:> :=
,fi : I HI
The Shake or Trill is an ornament much culti-
vated by the solo singer. When performed with
great evenness and accuracy it produces a very
delightful effect upon the hearer. It consists in
rapidly alternating the principal tone with the tone
above it in the scale. When a shake is introduced
in a close, it is usual to commence it by accenting
the principal tone. Thus if the cadence is r. r | d
the singer would strike r m r m r m &c., accenting
the r, and ending thus : m r de r. When a Shake
is introduced in the course of a song, for mere or-
nament, it is usual to commence it by accenting the
higher tone thus : m r m r m r &c., accenting the
m and closing thus : m r de m r. Mdme. Seiler
says that the most beautiful trill is formed by
practising triplets, thus : m r m r m r, accenting
first the higher and next the lower tone. She re-
commends that the trill should be practised at first
always piano, to the syllable koo on each tone, and
afterwards with other syllables slurred. The
mouth, she says, must continue immovably open
and the tongue must lie perfectly still. The
trill must be sung very slowly at first ; afterwards
quicker and quicker. But it is no trill directly the
two tones lose their distinctness.
The Swell, that is the practice of a lengthened
Crescendo and Diminuendo on each tone of the scale,
was at one time much practised by voice trainers,
but it has been found injurious to many voices.
Garcia speaks of it as a last acquirement. Mdme.
Seiler condemns it in the early steps and even
St. Co. (New).
Cruvelli has abandoned it in the first part of his
course. It is exceedingly difficult to perform this
exercise with perfect evenness, that is without
giving a jagged shake to the tone ; and it is espe-
cially difficult to make the diminuendo as good as
the crescendo. It was common, in a swell on the
optional tones, to allow the singer to change
register, so as to get the middle part of the swell
on the lower and stronger of the two registers;
this also required much art. Those however who
wish to attain that magic power a perfect control
of the voice on every tone, in all its gradations of
force, are commended to careful daily practice and
a voice trainer.
The Appoggiatura (appod-jyatoo-ra) is a grace note
placed before a principal note, and occupying the place
immediately above or below it. The long Appoggia-
tura occupies half the time properly belonging to the
note before which it is placed, which time it takes
from that note. Thus Haydn writes, : m | f : : s
| m : || . But by means of appoggiaturas he
directs us to sing thus, :m | f : :l.s | f :m ||. In
the Tonic Sol-fa Notation there is no sign for the
long Appoggiatura, it being thought much better
to write the notes in the time in which they are to
be sung. The short Appoggiatura can scarcely be
said to take any time from the lote before which it
is placed. It only gives a kind of " fillip" to the
accent. It is expressed in the Sol-fa Notation by
a note like a bridge note of transition, distinguished
from that however, by being in italic type, thus r d.
156
SIXTH STEP.
The Turn. The direct Turn which is most com-
mon, consists of a triplet of notes beginning with
that above the principal tone. Thus I f : f | m :
with a direct Turn on the second f would be sung
3
thus, | f isfm.f |m : j|. As the writing
of this Turn would spread out the music too much
it is better to employ the sign of the common nota-
tion, thus /-v. The inverted Turn consists of a
triplet of notes beginning below the principal note.
Thus | d : d with an inverted Turn of the second
3
note would be J d :t,dr.d ||. The sign
for this is . When either the first or last note of
the triplet has to be sharpened, this will be expressed
by writing, in small size, the altered note under or
fe
/^
over the ^. Thus re would be sung | femre.m ||.
m
Both these Turns when used in a cadence may some-
times be allowed to delay the time, but not when
they occur in the course of a piece. They should
be delivered with subdued voice, but with great
clearness. The direct turn gives spirit to the ex-
pression, the inverted turn gives tenderness.
" The natural voice," says Nauenburg, " is
merely the raw material, which has to be elaborated
into an instrument of art. Even in the most
favourable organization, if tho voice be unculti-
vated, there will be found side by side with healthy
*nd powerful tones, others that are sickly, feeble,
xirill, in short, unavailable for the purposes of art,
until they are trained and beautified. Indeed, the
greatest irregularities come to light in voices in
which the natural development of the organ has
already been disturbed by unregulated singing and
various physical influences. High tones, wrested
from nature, will by-and-byc rob the lower tones of
that clear ring of true voice which we call Klany,
and of fulness. So long as the body, and with it
the vocal organs, are yet growing, the voice will
doubtless stand a good deal of mismanagement .
but it is sure to collapse when the physical strength
can no longer withstand unnatural treatment.
The forced tones below as well as above, often lose
their fulness and energy, nay, there occasionally
happens quite a new break of tho voice. Such
results plainly prove that those tones were forced,
and not founded in the nature of the organ."
Voice exercises should be repeated every year, and
at the opening of every season of singing practice
meetings. Every one should seek to have a culti-
vated voice. The cultivated voice is known from
another by its first sound. There is no mistaking
the matter of his instrument.
Finally, let us remember two things. First,
that even music must bo enjoyed " soberly," and
the more steadily and soberly it is pursued the more
fresh will be our desire for its pleasures and the
more keen the enjoyment they bring. And last,
that all this vocal culture only puts into our hands
a delicate but effective instrument. See, reader,
that you use it nobly. Exercise yourself to win a
humble, true, and joyous soul, and let your heart be
heard singing in your voice. Use that voice for social
recreation innocent and elevating. But use it
most rejoicingly for " the service of song in the
house of the Lord." If the singing at your place
of worship does not satisfy you, try to improve it :
but first of all show that you mean cheerfully to
fulfil your own personal duty of vocal praise, who-
ever leads the singing, whatever tunes are used,
and howsoever the organ is played.
The Tonic Sol-fa movement has been
'listin^uinhed from all other efforts to
promote music among the people by it*
System of Certificates for practice and
theory. These certificates nave grown
into common use and general accep-
tance, partly through the good will of
teachers and pupils towards the method
and their desire to testify a grateful
love a proud fealty to if, but chiefly
because of their proved advantages.
For the true pupil they find out (what
he wants to know) bis weak placet,
thcw him in what direction self-teaching
specially demanded, and give him the
rtmftdenee of knowing that he has really
and satisfactorily reached a certain
tige. When some unloving, unsocial
THE CERTIFICATES.
pupil boasts that "he could take the
certificate if he would," the surest way
to destroy his boast is to try him. For
the true teacher (who knows how easy
it is to obtain merely one-sided or
merely collective results and how
deceptive) they offer the only practica-
ble means of guaging his real work.
The ambition to obtain them also
promotes such an amount of home work
that fully four-folds (as has been as-
certained) the usefulness of the class.
All faithful teachers of our method
"put honour" on the certificates, by
definitely preparing the class, lesson by
lesson, for each of the requirements,
by making them necessary for admis-
sion to their higher classes, and above
all by inflexibly refusing to allow uncer-
tificated singers pupils ungrateful to
the method and careless of their own
progress and their teacher's honour
to take part in any public Demonstra-
tion or Concert. This is commonly the
strongest power with which the teacher
can enforce self -drill at home. Woe to
the teacher who, by weakly yielding,
throws this power away.
Our Certificates have been already
accepted by other societies than our
own as grounds of admission to Crystal
Palace choirs, to Choral Societies, und
to Precentorships. The more faithful
we are to ourselves, in this matter, the
more will our higher certificates grow
in public acceptance and ivcfulness.
sixni STKP
QUESTIONS FOR WRITTEN AND ORAL EXAMINATION.
DOCTRINE.
167
1. What is meant by transition of
two removes .' In going to the second
sharp key. what tones of the old key
are blotted out. and what tones of the
new key are introduced ? How does
this move the key tone .' In going to
the second flat key, what tones of the
old key are blotted out and what of the
new introduced ! How does this move
the key tone ? p. 117.
2. What emotion does the second
sharp remove express ? what the second
flat ? For what purpose is a principal
second remove chiefly used 1 How is a
subordinate second remove commonly
employed ?
3. What are the three points to be
observed in helping pupils to master
Transitions? What are the points
which make some transitions easier
than others ? What points make them
more difficult ?
4. In transition of three flat removes
what Modulation generally takes place 1
What Modulation usually accompanies
three sharp removes? What physical
changes may, or may not be made in a
transition of three removes ? What is
the common mental effect of three flat
removes ? of three sharp removes ?
5. What are the general principles
which should guide us in fixing the
speed of movement and the degrees of
Force in singing ? Which should be
more studied the actual words or the
mood of mind in which they are uttered ?
Give an illustration. What is the ex-
ercise, in connection with this subject,
which is of chief value ? p. 130.
6 What kinds of passages should
be sung loudly and quickly ? Mention
four kinds with illustrations to each.
7. What kind of passages should be
sung loudly and slowly ?
8. What kinds of passages should
be sung softly and slowly? Mention
five kinds with illustrations to each.
9. What kinds of passages should
be sung softly and quickly .' Mention
three kinds with illustrations to each.
10. What kind of passages should
be sung with a gradual change from
loud to soft? Give illustrations from
memory.
11. What is the mental effect of a
sudden change from loud to soft on
single tones ? Give illustrations.
12. What kind of passages should
be sung with a gradual change from
goft to loud ? Give illustrations.
St. Co. (New.)
13. What is the mental effect of a
change from soft to loud on a single
tone.' Give illustrations.
14. What kind of Phrasing is more
important than the proper division and
marking out of the parts of a melody ?
What habit should the singer form in
order to perceive quickly the proper
phrasing of words ? When musical and
poetical phrasing do not agree, which
of the two should yield ? In Chorus
singing, what is important in reference
to phrasing ? p. 135.
15. How often should the use of the
articulation exercises of this step be re-
vived ? In what circumstances will a
mastery of the consonants render sing-
ing intelligible without much study of
the vowels ? In what kind of singing
is a study of the vowels absolutely
necessary for clearness and beauty ? In
what elements of speech do the local
differences and vulgarisms chiefly shew
themselves ? In what respects do the
vowels commonly called short, in Eng-
lish, differ from, the long vowels ?
What is the new art of vowel utterance
which the singer has to learn but which
the speaker does not require ? p. 136.
16. If the cavities of the throat and
mouth are held open steadily in any one
fixed form while voice is produced, what
element of speech will result? How
many vowels are possible ? Name the
six principal vowels going upward in
the order of natural pitch ?
17. In what manner in speaking do
we name the vowel sounds ? What
vowel forms the centre of the vowel
scale? In proceeding upwards what
change takes place with the middle of the
tongue ? In proceeding downwards how
do the lips change their position ? For
which vowels is the back of the tongue
highest and for which vowels is the
tongue altogether lowest ? Give the let-
ter names (not the sounds) of the three
principal descending vowels, of the
two principal less sonorous ascending
vowels, of the four ascending vowels
that are commonly short in speech,
of the three more obscure descending
vowels.
18. Mention three words in which an
occurs, without being so spelt. How is
this sound formed ? Give the position of
the lips, teeth and tongue. How is the
deeper, thicker, ah formed? What
defects in pronouncing this vowel are
common in your neighbourhood ?
19. Mention three words in which an
occurs without being so spelt. What is
the position of the tongue and lips in
forming this sound ? What difficulties
are found in sustaining an 1 In wha
pitch of what voice is there a tendenc>
to change this vowel? What wrong
pronunciation of this vowel are you
familiar with ? p. 138.
20. Mention three words in which the
sound oa occurs, without being so spelt.
What are the positions of the tongue,
lips and teeth in forming this vowel '.'
What are the tendencies of this vowel
in the lower pitches and in the higher
pitches ? What faults in sounding this
vowel are you practically acquainted
with?
21. Mention three words in which on
occurs, though not so spelt. What is
the position of the tongue, lips and
teeth in producing this vowel ? In
which voice, and in what pitch of it
has this vowel a tendency to change ?
Name any defects in sounding oo with
which you are familiar.
22. Mention three words in which
the sound ai occurs, but not so spelt.
What is the position of the lips, teeth
and tongue for this vowel? la -which
voice and at what pitch has it a tend-
ency to change ? How is this vowel
commonly mispronounced ?
23. Mention three words [in which
the sound ee occurs, though not so spelt.
What is the position of the tongue and
teeth in producing ee ? In which voice
and at what part of its pitch is this
vowel likely to alter ?
24. Mention three words in which
the sound u occurs, though not so spelt.
What is the position of tongue, lips
and teeth in holding this vowel ? In
what voice and at what part of its pitch
is this vowel most likely to change?
What defective pronunciation of it do
you know ? p. 139.
25. Mention two words in which the
sound a occurs, though not so spelt.
What is the position of the tongue,
teeth and lips for this vowel ? What
is the natural change of a at high
pitches ? What defective pronuncia-
tions of this vowel are you personally
acquainted with ?
26. Mention three words in which
the sound e occurs, though not so spelt.
What is the difference between the po-
sitions of the organs in ai and in e?
What is e likely to change into at high
158
SIXTH STEP.
pitches ? What defects do you notice in
the pronunciation of this vowel ?
27. Mention three words in which
the sound i occurs, in one of them at
least the i being differently spelt. What
is the difference of the position of the
organs for ee and for i ? What faults
do you know of in the pronunciation
of this vowel ?
28. Mention three words in which
the sound uo occurs, though not so spelt.
What is the difference in the position
of the organs for oo and for uo ? What
wrong pronunciation of this vowel are
you acquainted with ? p. 141.
29. Mention three words in which
the sound o occurs. What is the differ-
ence between the position of the organs
for au and o t What three other cases
are there in which vowel positions differ
in the same way, though otherwise
alike T Have you noticed any mispro-
nunciation of o T
90. How is the pronounced before a
vowel ? how before a consonant ? How
is my pronounced ?
31. What are the four principal
diphthongs in the English Language T
What vowel is treated along with the
diphthongs, and why t What is the
difference between two vowels put close
together and a diphthong ? Give an
illustration. What is the difference
between a diphthong and a digraph T
Of the three elements of a diphthong,
which is neither the longest nor the
shortest T Of the two vowel elements,
which generally has the accent ? p. 142.
:12. Mention three words in which
tin- diphthong et occurs, though not so
spelt. On which vowel element does
the stress fall, and what sound should
be given to that element in singing?
How should the glide be treated ?
33. Mention three words in which
the sound oi occurs, though not so
spelt. What is the proper first vowel
element and which of the two should
In- prolonged ? What error in prononnc-
iii'r this diphthong have you noticed t
.".4. Mention three words in which
the sound OH occurs, though not so
spelt. What is the second vowel ele-
ment, and which of the two should be
prolonged in singing and with what
sound f
35. Mention three words in which
the sound eu occurs, though not so
spelt. What is the second element,
what is the first 1 Which has to be
prolonged in singing ? What error has
to be avoided in pronouncing t and d
before eu \
36. What other diphthongs can you
describe?
37. Mention three words in which
the sound ao occurs, though not so
St. Co.
spelt. What is the difference in the
position of the organs for oa and for
ao ? How may the pronunciation of
this vowel be easily attained ?
38. What are the musical properties
proper to a Response ? p. 144.
3i. What are the essentials of a
Chant ? Describe the form of an An-
glican Chant. What are two of the
common faults in the construction of
an Anglican Chant ?
40. How did the modern hymn tune
originate ? What are some of the
defects of structure which often unfit ;it
for the voice of a Congregation ?
41. How does the speed of a hymn
tone affect its harmonic character ?
42. How does the speed of a tune
affect the rhythmical impression it pro-
duces, and what sort of speed demands
the closer attention to rhythmical pro-
portion and balance ? p. 145.
43. What sort of tunes are best
adapted to the bold and spirited hymns,
and how do tunes of this character
change their mental effect when sung
slowly ? What kind of tune is best
adapted to hymns of cheerful emotion,
and how do such tunes alter their mental
effect when sung slowly ?
44. What is the sort of tune which
best suits hymns of didactic and varied
character t
46. How can a precentor best remind
a Congregation of & change of senti-
ment in the hymn, and secure the proper
expression ?
46. How do Anthems essentially
differ from Hymn tunes in their aim
and in their musical character '. When
Anthems are meant for congregational
use, what musical difficulties should
be avoided? Explain the words Decani,
Cantoris, Full, Verse.
47. What are the musical character-
istics of a Madrigal ? What kind of
sentiment often characterises a Mad-
rigal ? What is a Ballet ?
48. For what peculiarities of vocal
arrangement was the English Glee
specially adapted ? What sort of Glees
will bear a number of voices on each
part?
49. How does the Part-Song differ
from the Glee, and how does it differ
from the Madrigal? How does the
Harmonized Air differ from the Part-
Song? p. 146.
50. Whence arises the importance of
music for equal voices .' p. 149.
51. For what vocal arrangement are
Oratorio Choruses specially adapted ?
62. What is the style of Operatic
Choruses ? p. 146.
68. What is a Canon* and what is
meant by " a Canon four in two " !
54. How does a Fugue differ from a
Canon T p. 147.
55. What are the essentials of a
Fugue, and what other musical contri-
vances are necessary to a fully developed
Fugue ? What sort of pieces may be
called Fugal Passages or movements
rather than Fugues .'
56. What is a Subject in Fugue, and
what is meant by its various exposi-
tions?
57. What is a Response in Fugue ?
Where does it commence the first time
it occurs, and what are some of the
various ways in which it is treated ?
58. What is the Counter-subject in
Fugue I What other forms often take
the place of one distinct Counter-
subject ?
59. What is Stretto, and what is its
emotional effect ?
60. What is an Organ-point, and
what is its effect ?
61. How does a Recitative differ from
the good recitation of a Chant ? How
should Recitative be sung and what is
the chief use of it ? p. 148.
62. What is an Opera, and why does
a combination of arts fail to produce
the highest developement in any one of
them?
63. What is an Oratorio, and how
does it differ from the Opera !
64. What is a Cantata ?
65. What choral contrivances are
allowable when Composers write"parts"
which are beyond the fair limits of a
chorus voice ? p. 149.
66. In what respect does a wide mu-
sical pipe differ in its effect from a narrow
one ? What kind of Resonance or Timbre
is produced by a full distended month,
what by a narrow mouth, what by a
mouth of medium shape and size ?
67. In what places of melody ought
we not to take breath, and in what
places are we obliged to do so ?
68. How is the Portamento made ?
In what cases should it be used in Solo
singing and in Chorus singing ?
69. Whence arises the difficulty of
carrying out voice exercises in a mixed
class? In what cases only can voice
training in a class be profitable? In
what cases is it likely to be injurious ?
What is the secret of success in voice
exercises ? What, according to Nauen-
trarg, are the three objects of voice
training ? What other object should
be kept in view ?
70. What is the use at the large
Voice Modulator? p. 150.
71. How is flexibility of voice
secured ?
72. By what kind of practice is
strength of voice maintained ?
73. "What is the special use of down-
ward voice cultivation exercises ?
SIXTH STEP.
159
74. In what does the Shake or Trill
eonsist ? In what case does the singer
usually accent the principal tone, and
how does he close ? in what case the
upper tone, and how does he then close?
How does Madame Seiler recommend
that the Trill should be practised ?
75. What is a Swell ? Why has it
been abandoned in the early steps ?
76. What Is the long Appoggiatura,
and how is it expressed in the Sol-fa
notation t What is the short Appog-
giatura, and how is it expressed in the
Sol-fa notation ? p. 155.
77 . What is the direct Turn and how
is it written? What is the inverted
Turn and how is it written ?
78. What irregularities are com-
monly found in the natural uncultivated
voice ? What injury is produced by
high tones wrested from nature ?
79. What two things must we con-
stantly bear in mind if we would gather
the highest possible enjoyment from
music?
80. Sing your part in Exs. 243 to 248,
whichever the Examiner chooses.
81. Ditto Exs. 249 to 255.
82. Work Exs. 256 to 259, whichever
the Examiner selects.
83. Work Exs. 260, 261, whichever
the Examiner selects.
84. Work Exs. 262 to 271, whichever
the Examiner selects.
85. Work Exs. 272, 273, whichever
the Examiner selects.
86. Sing any one of the Exs. 274 to
280 which the Examiner may select.
87. Sing any of the Exs. 281 to 291,
which the Examiner may select.
88. Sing Ex. 292.
S9. Sing any of the Exs. 293 to 298
\vliich the Examiner may select.
90. Sing (if your voice is bass) to the
correct vowel " passing by " Add. Ex. p.
79, so. 3, m. 4, second bass, "go" Add.
Ex. p. 33, sc. 2, last note, bass,
"amain," Add. Ex. p. 64, sc. 1, "be"
Add. Ex. p. 71, 1st pulse, " love" Add.
Ex. p. 61, sc. 3, m. 3.
91. Sing (if your voice is soprano)
to the correct vowel, " la " Add. Ex. p. 8,
sc. 5, m. 3, 1st note," storm " Add.
Ex. p. 95, sc. 2, m. 3," roar " Add.
Ex. p. 64, sc. 4, m. 1, 2, 3, and 4,
" troops " Add. Ex. p. 20, m. 4,
"shadows" Add. Ex. p. 43, sc. 3, m. 6,
"Amen" the last syllable St. Co..
Ex. 172.
92. Sing (whatever your voice) to the
PRACTICE.
correct vowel, " love loves " St. Co. , Ex.
145, "rills" Add. Ex. p. 62, sc. 4, m.
4," along " St Co., Ex. 175.
93. Sing, first using the vowel aa
and then a, "last" Add. Ex. p. 39, sc.
3, m. 2, and " path " Add. Ex. p. 7, sc.
4, m. 4. Sing also first using u and
then aa to the first syllable " away "
Add. Ex. p. 53, sc. 2.
94. Find words in Add. Ex. p. 34
and 53 in which ai is sometimes sounded
instead of a.
95. Find cases in St. Co. Ex. 144 in
which ai is sometimes sounded for the
article a.
96. Find words in St. Co Exs. 78 and
113 in which ei is sometimes sounded
instead of i. See Ex. 299.
97. Find a word in St. Co. Ex. 143 in
which oa, is sometimes sounded instead
of the sound u.
98. Find a word in St. Co. Ex. 98 in
which u is sometimes sounded instead
of o.
99. Find a word in St. Co. Ex. 115 in
which t is sometimes sounded instead
of e.
100. Find a word in St. Co. Ex. 77 in
which u is sometimes sounded instead
of .
101. Find a word in Add. Ex. p. 77
in which e is sometimes sounded instead
of u.
102. Find words in Add. Ex. p. 3 in
which f.-.-aa. is sometimes sounded before
r instead of ee with the mere vanishing
u.
103. Find 'cases in St. Co. Ex. 144
and 145 in which " the " before a con-
sonant is sometimes sounded thee instead
of thu.
104. Find cases in St. Co. Ex. 144
and 145 in which " the " before a vowel
is sometimes sounded thu instead of
thee.
105. Find four cases in St. Co. Ex.
175 of the diphthong which is sounded
ei, and sing them as directed.
106. Sing the diphthong oi in Ex. 113
as directed.
107. Sing the diphthong ou in Ex. 69
as directed.
108. Sing the diphthong sounded tu
in St. Co. Ex. 145, v. 3, m. 2, dwelling
on the second element.
109. Without referring to St. Co.
write an analysis of " Thou shalt shew
me," Add. Ex. p. 7.
110. Write an analysis of the fugal
imitiations in " Hallelujah Amen,"
Add. Ex. p. 26.
111. Write a fugal analysis of the
first movement in "Theme sublime,"
Add. Ex. p. 66.
112. Write a fugal analysis of the
second and thi rd movements of "Theme
sublime," Add. Ex. p. 67.
113. Write a fugal analysis of "How
lovely," Add. p. 58.
114. Answer the question in Ex. 299.
St. Co.
160
APPENDIX. CHROMATIC TONES.
APPENDIX. CHROMATIC TONES.
Accidental Sharps and Flats. The notes of the
Chromatic Scale, which lie hetween the notes of the
ordinary scale, are as follows :
Flat. Scale. Sharps.
t
f :n :f
n :re :n
r :de :r
Stepwise Motion. The Chromatic sounds inuM
also be mastered in the form of stepwise progression
in an upward or downward direction, thus :
le
d de r t ta 1
1
r re n 1 la s
la se
f fe s s fe f
s
s se 1 n na r
fe
1 le t r ra d
f
There is no model in the common scale for tlii.s.
The notes may lirst be introduced as an ear exercise,
n the teacher singing to laa d r, and then d de r,
and getting the class to perceive the new tone.
na re
Leaps. When both the Flats and the Sharps art-
r
familiar as waving tones and in stepwise motion,
they may be approached and quitted by leaps, as
ra de
frequently happens in modern music. All the exer-
A
cises on leaps should be formed upon one pattern,
u
The commonest and easiest use of Chromatic
Dtes is as waving tones coming from and returning
the note a little step above or below.
namely, first giving the intervening note, and then
omitting it. For example :
Sharps.
Example of First Presentation: Sharps. Teacher
n r de r n de r
a r re n a re n
ngs to laa, and points on modulator d t, d several
mes. He then does the same with s fe s. With-
f n re n f re n
f s se 1 f se 1
it pointing he then sings, also to laa, m re m
veral times, questioning the class, varying it with
1 s fe s 1 fe s
s 1 le t s le t
i r m, and making them feel the resemblance to
t, d and s fe s, and the contrast with m r in.
d 1 t le t d 1 le t
s 1 le t s le t
!e elicits the fact gradually that the new note is
gher than r ; then names it, and gets the class to
ng it. He then explains the names for all the
f r de r f de r
r ren f r re f
larps of the scale, de re fe se le, and gives
Flats.
>pious exercises on them, always waving from and
d r na r d na r
d 1 t ta 1 d 1 ta 1
the tone next above.
Flats. These must be taught by comparison witli
t, d ra d t, ra d
t 1 la s t la s
i f m. Unlike the sharps they are most easily
>proached from the tone below. Thus :
f s la s f la s
f n na r f na r
1 ta 1 r na r
s 1 ta 1 s ta 1
n r ra d n ra d
s la s d ra d
Exercise ori Waving Chromatics.
d 1 1 la s d 1 la s
d r na r d na r
d 1 :t :d' t :le :t 1 :se :1 Is :fe:s >
\ <
d 1 ta 1 s d 1 ta s
s la s f s la f
St. Co. (New).
APPENDIX. CHROMATIC XOXKS.
1G1
If the Voluntaries be all constructed on this
principle, power over these chromatic leaps will
gradually be gained.
Transitional Models. It will be noticed that
some of the above progressions of notes have already
been studied under Transition (imperfect method) or
the Minor Mode, and many difficult intervals which
occur, such as m ta, fe^d', 1 de r, ta de 1 , &c.,
are best referred to their prototypes in the key in
which they really are.
Hints for teaching difficult intervals in the Minor
Mode, by R. Dunstan, Mus.Bac.
Fak, Se. This interval may easily be mastered
by singing the following exercises from the modula-
tor :
n :- II :-
:n
:
se :
se:-|se:l f :- 1 :- f :
se :1 If :1 I se :
se : f :
>
se :
1 :se
>
se :
J)ofc Se-
l : Id' :- 11 :d'
d 1 :1 Ise : Id 1 :
If the pupil "thinks of taa" he will readily be
able to attack se (a little step below it) from any
other note.
SI. Co. (New).
Intervals. The Chromatic tones may also Le
studied from the point of view of intervals. With-
out going into the subject of Intervals generally, we
may explain that for the purposes of Intervals the
scale is divided into twelve little steps, each of
which, roughly speaking, is of the distance between
d t|. - The following table shows the number of
semi-tones which each interval contains :
Semi-tones.
Minor Second 1
Major Second 2
Augmented Second 3
Minor Third 3
Major Third 4
Diminished Third 2
Perfect Fourth 5
Augmented Fourth, or
Pluperfect
Diminished Fourth 4
Perfect Fifth 7
Diminished Fifth, or
Imperfect
6
6
tes. Exam
A
.pic.
t.
1
re
d>
n
re
d>
t
di
8
se
m 1
d 1
re'
t
f
1
H<
&
j
d
f
f
d
t
l|
d
f
fl
B i
t
l \
A
Augmented Fifth .......... 8 --
Major Sixth .............. 9
Minor Sixth .............. 8
Augmented Sixth .......... 10
Major Seventh ............ 11
Minor Seventh ............ 10
Diminished Seventh ........ 9
Octave .................. 12
It matters not whether the Intervals be comprised
within the notes of the common scale or not. A
Minor Third is the same Interval whether it occurs
as 1, d or as d ma. The teacher may, therefore,
point Voluntaries which exhaust any one interval,
presenting it in all its forms in the scale, both as-
cending and descending. For example, a succession
of Minor Seconds :
d t| r de n re f n s fe 1 se t le d 1 t d 1
In reverse order :
t d 1 le t se 1 fe s n f re n de r ti d
These two exercises, it will be observed, also com-
prise Minor and Diminished Thirds. Another
exercise on Minor Thirds would be :
li d t|
i r d d
nnsffla
Which could be shortened afterwards to :
li d t| r d na r f n s f la s ta 1
na r r f
sstal
162
APPKXDIX. CHROMATIC TONES.
This process can be continued with the easier in-
tervals, but with the wider and more difficult ones
it would involve melodies which would be practi-
cally unsingable. The best practical course is for
the teacher to follow, in his Voluntaries, the actual
habits of composers, and present Chromatics inter-
spersed with Diatonic notes.
Naming of Intervals. Notice that intervals
formed by two adjoining notes are seconds, however
either of the two may be inflected ; those formed by
three adjoining notes, thirds, and so on. Thus
d ra, d r, and d re are all seconds (Minor, Major,
and Augmented), as also are f fe, f a, and f se. On
the pianoforte d re is the same as d ma, and f se
the same as f la. But in the language of intervals
they are different. Thus d re is a second aug-
mented) because the sounds from which it is derived
(d r) are two adjoining notes, and d ma is a third
(minor) because the interval from which it is derived
(d and m) is formed by three adjoining notes.
Flats or Sharps. The teacher who wishes to
point chromatic voluntaries may fairly ask. should I
point sharps or fiats, d ra or d de ; 1 le t or
1 ta t ; 8 la 1 or s se 1. The notes being the
same on the pianoforte, composers are often in-
different as to which they write. Some theorists
hold that flats should generally be preferred to
sharps, r ma m instead of r re m, &c. In
music, however, especially of a popular kind, sharps
are much more common than flats, and flats (be-
cause they are less often encountered) are more
difficult to singers. The best way is for the teacher
to point both by turns, and when he wishes his
voluntary to be specially searching and difficult, to
prefer flats.
The Extended Modulator. It is to be wished
that the Extended Modulator, which gives the com-
plete range of keys, may become more common, and
supersede, for advanced pupils, the small sectional
modulators. It affords far better practice to the
pupils, and gives much greater scope to a teacher
whose fancy for the invention of melody is active.
In using the Extended Modulator the teacher should
always observe absolute pitch. Each column re-
presents a key. and in the proper key the teacher
should start. As a rule it is best to begin in C and
return to it at the close of the voluntary. The loss
of pitch, if any, can then be ascertained. The
following will serve as a specimen of a somewhat
advanced voluntary on the Extended Modulator :
St. Co. (New).
C E
d 1 s n d n s d' d'l n d 1, d n 1 -
C Dfc,. Eb.
1 se t 1 id 1 t r 1 d 1 <*'t 1 d' t 1 s
G. ' Ai?.
tlifnsfnrftid d t, d
r n
.
d *r n f n s, 1, ti d 1, ^s, 1, t, d
Br>. C. D.
1. 1,8, 1, t, d 1, i,s 1 t d 1 1 IB 1 t d 1
C.
1 s f ** 1 t d 1 1 s f n r s t| s d
In this voluntary the changes of key are made in
the easiest way, by passing horizontally to a note of
the same pitch in the new key. The more difficult
exercise is to leap obliquely to a note of different
pilch in the new key. The following is an example :
C- Ab-
s n 1 d 1 t d 1 r 1 1 d 'n f r 1, t, d -- s,
Eb. F -
l t r ti d r T ti d r f n 1 s d f n
Bb. Eb- c.
*li d f n i,n se t 1 d 1 d 1 del n' n 1 r 1 1
r 1 r 1 d 1 s 1 s t 1 d 1 -- t -- d 1 -
The principles on which all Voluntaries on the
Extended Modulator should be constructed are
these :
1 . Take a phrase of six or eight notes, and having
pointed it in one key seek to get imitations of
it in other keys, and in their relative Minors.
2. Never change key without introducing promptly
the distinguishing tones of the new key. A
change of column without the new tones is
merely a change of notation.
3. Do not be afraid to repeat a note. All good
melodies repeat notes.
4. If possible, let your phrases fall into measures
and become rhythmical. This makes the sing-
ing more spirited.
A VOCABULARY OF MUSICAL TERMS.
NOTE. Mr. ALEXANDER J. ELLIS, who has kindly added the pronunciations to the following words,
states that they are mere English imitations of Italian, but that a very near approach to the true Italian
pronunciations will he made, if in those given ai is never allowed to vanish into ?e, or on into oo ; if aa be
used always for a, and ee for t ; the broad ae (St. Co., p. 140) for e, and the broad ao (St. Co., p. 143) for
o\ if also the consonants which are here doubled, be really doubled in speech, as in "book-keeping,"
"boot-tree," "mis-sent," "un-noticed "; and r' be always very strongly trilled. Italians do not generally
pronounce their vowels so short as English short vowels, or so long as English long vowels. The full stop
turned upwards ( ) in the middle of a word, throws the accent on what precedes. If thsre are two such
in one word, the first one has less weight than the second.
Abbandono, con (koan ab bandoa-noa}, with self -aban-
donment.
Accelerando (atchel-air'an-doa}, more and more
quickly.
. Accelerato (atehel-air'aa-toa}, increased in rapidity.
Acciaccatura (afchiak-katoo-r'a}, a short appog-
giatura.
Adagio (adaa-jioa}, very slow and expressive.
Adagio Assai or Molto (adaa-jioa assaa-i, moal-toa),
extremely slow and expressive.
Adagio Cantabile e Sostennto (adaa-jioa kantab-ilai ai
aostenoo-toa) , slow, sustained, in a singing manner.
Adagissimo (adaajis-simoa}, slower than adagio.
Ad libitum (ad &?), Latin, at will or discretion.
Affettnoso (a/et'too-oa-soa}, with tenderness and
pathos.
Amizione, con (koan afflee-tsioa-nai), in a manner ex-
pressive of grief.
Agilita, con (koan ajee-litaa-}, with lightness and
agility.
Agitato (aj-i taa- too), with agitation.
Alia Breve (al-aa brevai), a quick species of com-
mon time used in Church music.
Alia Cappella (al-laa kapel-laa),in the Church style.
Alia Stretta (al'laa str'ait'taa}, increasing the time.
Allargando (al'laar'ffan-doa},wiih free, broad style.
Allegretto (al-legr'ait-toa}, cheerfuL Not so quick
as Allegro.
Allegro (alleg-r'oa}, quick, lively. Sometimes modi-
fied by the addition of other words, as follows :
Allegro Assai (alleg-r'oa assaa-i),very quick.
Allegro con moto (alleg-r'oa koan mo-toa), with a
quick lively movement.
Allegro con Spirito (alkg-r'oa koan spee-ritoa)
quick. With spirit.
Allegro di Molto (alleg-r'oa dee moal'toa), exceed-
ingly quick.
Allegro veloce (alleg-r'oa velo-chai], quick, to abso-
lute rapidity.
Allegro vivace (alleg'r'oaveevaa-chai), with vivacity.
A.llegTissira.o(allegr'ees'simod), superlative of Allegro.
Amabile (amaa-bilaf), amiably.
Amoroso (am-oar'oa-soa), lovingly, tenderly.
Andante (andan-tai}, "going" easily and rather slowly
Andante Affettuoso (andan'tai affettoo-oa-*oa), slow,
with much pathos.
Andante Cantabile (andan'tai kantab-ilai), slow and
in a singing style.
Andante con Moto (andan-tai koan mo'toti), slow and
with emotion.
Andante grazisoso (andan-tai gr'aa-tsioa-soa], slow
and gracefully.
Andante Maestoso (andan-tai maa-estoa-soa), slow
and with majesty.
Andante non troppo (andan'tai non tr'op-poa), slow
but not in excess.
Andantino (an-dantee'noa], a little slower than
Andante, moving gently.
Animate (an-imaa-toa), with animation.
Anima con (koan an-imaa], with soul, with fervour.
A plomb (aa ploan"), French, n' indicating French
nasality, in a decisive, firm, steady manner.
Appassionato (appas-sioanaa-toa), with fervid, im-
passioned emotion.
A.ypoggi&tfiTa.(appod'jiaatoo-r'aa}, a forestroke.
104
MUSICAL TERMS.
Ardito (aar'dee-loa), with ardour.
A tempo \<ia tem-poa), after a change in speed, to
return to the original rate of movement.
y A tempo giusto (aa tem-poa joos-toa), in strict and
equal time.
A tempo ordinario (aa tem-poa or'dinaa-r'ioa), in an
ordinary rate of time.
V^Audace (oudaa-chai), better (aaoo-daa-chai), bold,
fearless, impudent.
Al, All', Alia, Alle, Allo, Ai (/, all, al-laa, al'lai,
al-loa, aa-i), to the, or, in the style of.
Basso Primo (bas'soa pree-moa), First Bass.
Basso Secondo (bas-soa saikoan-doa), Second Bass.
Bene Placito (ben-aiplaa-chitoa), at will.
Ben Marcato (ben maar'kaa-toa], in a clear, distinct,
strongly marked manner.
Bis (bees), or (bis) as Latin ; twice. A passage in-
dicated by a stroke to be performed twice.
Bravura (bravoo-r'aa), with vigour, with boldness.
Brioso (bree-oa-soa) with spirit.
Brillante (>' illairtaf) , in a showy, sparkling style.
Burlesco (boor'lai-koa), with comic humour.
Cacophony (kakof-uni), English. A discordant
combination of sounds.
Cadence (kai-dens), English. A close in melody or
harmony. Also an ornamental passage at the
end of a piece of music.
Cadenza (kaden-tsaa), Italian. An ornamental
series of notes at the close of a piece of music.
Calando (kalan-doa), becoming softer and slower
by degrees.
Cantabile (kantab-ilaf), in a smooth, melodious,
graceful, singing style.
Canticle (kan-tikl), English, cantico, pi. cantici
(kawtikoa, katrtiehee), Italian. Devotional song.
Canto (kan-toa), the highest part in a piece of vocal
music.
Cantor (kan-taur'}, Latin, cantore (kanloa-r'ai)
Italian. A singer.
Cantoris (kantaor-r'is), Latin. A term used in
Cathedral music, to distinguish the singers on
the left side, where the Cantor or Precentor sits.
Canzonet (kanzoanet-}, English, canzonetto (kan--
tsoanait'toa), Italian. A short song.
Capriccio (kapr'eet-chioa), in a fanciful style
Celerita (cfieleritaa-), with celerity, quick.
Cavatina (kavatee-naa),a,rL&irof one movement only,
sometimes preceded by recitative, of a dramatic
character, and generally employed in Opera.
Chorus (kaor'r'us), Latin, coro (ko-r'oa], Italian.
A band or company of singers,
Chiaroscuro (kyaa-r'oskoo-roo), light and shade in
piano and forte.
Comodo (ko-modoa)j with composure, quietly.
Con (koan), with.
Con moto (koan mo- too), with motion, or a spirited
movement.
Con Spirito (koan spee'r' itoa) with quickness and
spirit.
Coi, Col, Coll', Colla, Collo, (kei r koal, koall, koal-lna,
koal'loa), with the.
Corale (kor'aa-lai), the plain chant.
Crescendo (kr'aishen-doa'), becoming louder. Somcy
times expressed thus <:
Da Capo, or B.C. (daa kaa-poa). from the beginning.
Da (daa}, from, dal (daal), from the.
Decani (deekai-nei), Latin. A term used in Cathc-
dral music, to distinguish those singers who arc
placed on the right side of the building, (entering
the choir from the nave), where the Dean sits.
Decrescendo (dai-kr' aishen-doa), gradually decreas-
ing in power of tone.
Dell', Delia, Dello, (daill, dail'laa, dail'loa) of the.
Detache* (daitaashai) French, make each syllable
short and accent equally. French term for
staccato.
Deliberate (dailce-ber'aa-(oa') adj., deliberatamente
(dailee'ber'aa-tamain'tai), adv., deliberately.
Demi (dem-i), English, (du-mee), after a consonant,
(d-mee) after a vowel, French. A half.
Diluendo (dee'loo-en-doa], a washing away, a dis-
solving. Passages so marked to diminish in
force, until they vanish into silence.
Diminuendo (deemec'noo-en-doa), diminishing the
force.
Di Molto (dee moal-(oa'), much or very.
Dolce (doal-chai), in soft and sweet style. ^/
I Dolorosa (do-loar'oa-saa),
] Dolente (dokn-tai), with an expression of pain,
( dolorously.
MTTSICAI, TERMS.
165
Duett(deu-et"), English, Duetto (doa-ait-toa), Italian.
A composition for two performers.
E, Ed, (ai, aid), and.
Eco, Ecco, (ek-oa, ek-koa) Italian, echo (ek-oa,
English. A repetition or imitation of a previous
passage, with some modification of tone.
Elegante (el-aigan-tai), with elegance.
Energico (ener' -Jikoa), con energia (Jcoan en-er^jee-aa)
energicamente (ener''jikaamain-tai), with energy.
Enharmonic (en-haar'mon'ik), English, enarmonico
(en'aar'mon'ikoa), Italian, proceeding by quarter
tones.
Espressivo (es-pr'essee~voa), or con espressione (koan
espr'es-sioa-nai), with expression.
^ Extempore (eks-tem-puri), Latin, unpremeditated.
/ Facilmente (fach-ilmain-tat), easily, with facility.
Fermato (fair'maa'toa), with firmness and decision.
Fine (fee-nai), the end.
Forte (for'-tai), loud.
Fortissimo ( for' 'tees- simoa), very loud.
S Forzando (for'tsan-doa), forzato (for'tsaa-toa), with
peculiar emphasis or force.
<" Forza (for'-tsaa), force, vehemence.
Fugato (foogaa-toa) in the fugue style.
Furioso (foo-r'ioa-soa), with rage, furiously.
Gajamenta (gaa-yaamain-tai), Italian, Gaiement
(gemon'), Erench, n' nasal, Gai, Gaio, Gajo, with
gaity.
Giocoso (jokoa-soa), humorously, with sportiveness.
,V Giustamente (joo-staamain'taf) t justly, with pre-
cision.
~r Giusto (joo'stoa), in just and exact time.
Glissando (gleessan-doa], in a gliding manner.
(/ Grande (yran-dat), great.
Grandioso (gran'dioa-soa), in grand and elevated
style.
Gr&v&'me'a.'te(gr'aa'vamain'tai), with gravity, digni-
fied, and solemn.
Grave (gr'aa-vai), a very slow and solemn move-
ment.
/ Grazia, con (koan yr'aa-tsiaa), graziosamente,
(gr'aa't.rioa-saamain-tai), grazioso (gr'aa'tsioa'soa),
in a flowing, graceful style.
Gusto (ffoo'stod), gustoso (goostoa'soci), con gusto,
(koan goo'stoa), with taste, elegantly.
II, (eel), the, as il violino the violin.
Impeto (im-petoa), con impetuosita, (koan impet--
oo-oa - sitaa'), impetuoso (impet^oo-ocfsoa), adj.,
impetuosamente (impet'oo-oa'samain'tat), adv.,
with impetuosity.
Tmponente (im-ponen-tai), with haughtiness,
Impromptu (impr'om-teu), Latin, an extempo-
raneous production.
Iinprovvisamente (im'pr'ovvee'samain'tai), extempo-
raneously.
Innocentemente (in'noachen'taimain'tai), innocentd
(in'noachewtai), con innocenza, (koan in'noachen:
tsaa), in artless simple style.
La flaa), the, as la voce (laa vo f chaij, the voice.
Lagrimoso flag'r'imocfsoaj, in a mournful dolorous
style.
Lamentabile (laa-mentab'ilaij, lamentoso (laa - men-
toa-soaj, plaintively, mournfully.
Languente (lan-gwen'laij, langnido flan'gicidonj,
with languor.
Largamenta (laar'gamain'taij, very slowly.
Larghetto (laar'gaittoaj, a slow andmeasured time ;
but less slow than Largo.
Larghissimo (laar'gees-simonj, extremely slow.
Largo (laar'-goaj, a very slow and solemn degree of
movement.
Le f/ff/V,the, as levoci (laivo'cheej, fem.pl. the voices.
Legatissimo (lai-gatees- simoa), very smoothly con-
nected, [gliding manner.
Legato (laiffaa-toa), bound or tied, in a smooth
Leggiero (led-jier'-oa), with lightness.
Leggierissimo (led'jier'ees' simoa}, with the utmost
lightness and facility.
Lentando (lentaan-doa), with increased slowness.
Lento (len-toa), in slow time.
Ma (maa) but ; as allegro ma non troppo (ttlleg^r'oa
maa non tr 1 op-poo), quick, but not too much so.
Maesta, con, (koan maa-aistaa-), maestoso (maa'ais-
toa-soa), with majesty and grandeur.
Marcato (maar'kaa f toa), in a marked and emphatic
style.
Meno (mai'noa), less, as meno forte, less loud.
Mesto (mes-toa), mestoso (meslocfsoa), mournfully,
sadly, pathetically.
16(5
MUSICAL TERMS.
Mezza voce (med-azaa voa-ch at), observe not (met'ttaa),
in a gentle, flute-like voice.
Mezzo (med-dzoa observe not met-tsoa), half, as
mezzo-piano, rather soft ; mezzo-forte, rather loud.
Moderate (mod-air'aa-toa), adj., moderatamente
(mod-air' aa-taamain'tai), con moderazione, (koan
mod-air' aa'tsioo'nai), with a moderate degree of
quickness.
Moderatissimo (mod-air'atees-sitnoa), in very mode-
rate time.
Molto '.tnoal-toa), very, extremely ; as molto allegro,
very quick.
Molta voce, con (koan nwaltaa voa'chai) with full
voice.
Morendo (mor'en-doa), gradually subsiding, dying
away.
Moto, or con moto (mo-toa, koan mo-toa, almost
mau-toa), with agitation.
Nobile (nob-ilui : , nobilmente (nob-ilmain-lai), with
nobleness, grandeur.
Non (non an adverb of negation, generally associ-
ated with troppo as,
Non troppo allegro (non tr'op-poa alleg-r'oa), non
troppo presto (non tr'op-poa pr'es-toa), not too
quick.
Non molto (non moal-toa), not very much ; as non
molto allegro, not very quick.
Non tanto (non tan-ton], not too much ; as allegro
non tanto, not too quick.
Nuovo, di (dee nwo-voa), newly, again.
(o, nearly au), or ; as flauto o violino (Jlaa-ooto*
o vee-olee-noa, nearly Jlout-toa au .), flute or
violin.
Obbligato (ob-bligaa-toa), a part to be performed by
some particular instrument in conjunction with
the principal part, and indispensable to the har-
mony and proper effect.
Obbligati (ob-bligaa-tee), pi., two or more indispens-
able parts to be performed by different instru-
ments in conjunction with the principal part.
Oppure (oppoo-r'ai), or else.
Ordinario (or'dinaa-r'ioa), usual ; as a tempo ordi-
nario, in the usual time.
Farlando (p<'jr' k,n-doa\ in a speaking manner.
, passionate
(pas-sionaa-toa), in an impassioned manner.
Pianissimo (pyaanees-simoa), extremely soft.
Piano (pyaa-noa), soft. The opposite of forte.
Piano piano or piu piano (pyaa'noa pyaa-noa, pyeu
pyaa-noa}, more soft or very soft.
Piu ( pyeu], almost like the English pew) an adverb
of augmentation, as piu forte louder, piu lento
slower.
Piacere al (al pyaaehai-r' ai), at pleasure in regard to
time.
Piu mosso (pyeu mos-soa), with more motion.
Piu tosto (pyeu tos-toa), or pinttosto (pyeuttos-toa),
rather ; meaning " in preference," as allegretto
o piuttosto allegro (al'legr' ait-toa o pyeuttos-toa
alleg-roa), rather quickly, or in preference,
quickly.
Placido (plaa-ehidoa), calm, quiet.
Poco ( po'koa, almost pawkoa), a little.
Poco meno (po-koa mai-noa), somewhat less.
Poco piu mosso (po-koa pyeu mos-soa), a little faster.
Poco a Poco (po-koa aa po-koa,) nearly (pauk aa
pawkoa) by degrees, gradually.
Poggiato (pod-jyaa-toa), dwelt on, struck impres-
sively.
Poi (po-ee almost poi), then ; adagio, poi alleyro,
slow, then quick.
Pomposo (poampoa-soa), in a grand and pompous
manner.
Portamento (por'tamen'toa), sustaining the voice,
gliding from note to note.
Precipitainente (pr'echee-pitamain-tai), precipitate
(pr'echee-pitaa-toa), con precipitazione, (koan
pr'echee-pitaa-tsioa-nai), precipitoso (pr'echee'-
pitoa-soa), in a hurried manner.
Prestamente (pr'es-tamai>t-lrn), hastily, rapidly.
Prestezza (pr'estait-tsaa), with haste and vivacity.
Prestissimo (pr'estees-simoa), exceedingly quick,
quicker than presto.
Presto (pr'es-toa), very quickly.
Primo (pr'ee-moa), first; as primo tempo, return to
the original time.
Quasi (kooaa-zee, nearly kicaa'eee), in the manner
or style of ; as if ; almost ; as quasi allegretto,
like an allegretto.
MUSICAL TEKMS.
167
Quieto (kooee-et-oa), nearly (kwee-et-na), usual form
cheto (ket-oa), with, calmness and repose.
Rabbia (r'nb-byaa), with rage, furiously.
Eaddolcendo (r'ad-dolchen-doa), raddolcente (r'ad--
dolchen-tai), with augmented softness.
Eallentando (r'al'lentan'doa), more and more
slowly
Bapidamente (r'apee'damain-tai), con rapidita
(koan r'apee-ditaa-'), rapido (r'aa'pidoa), rapidly
with rapidity.
Eattenendo (r'att-enen-doa), restraining or holding
back the time.
Bawivando (r'awvivatfdoa), reviving, re-ani-
mating, accelerating, as ravvivando il tempo,
animating or quickening the time.
Becitando (r'ecA-t'taw^oa), declamatory, in the style,
of recitation.
Recitative (r'ech'itatee'voa), a species of musical
recitation.
Religiosaineiite (r'ailee-jioa-samain-tai), religioso
(r'ailee'jioa-soa). in a solemn style.
Rinforzando (r'in'forttati'doa), riuforzato (r'iw-
for'tsaa-tna rinforzo (r't/br''too), with addi-
tional tone and emphasis.
Bisolutamente (r'ee-soaloo-tamain-tai^risol'u.to (r'ee--
soaloo'toa ,risolu.zioa.e con (koan r'ee'soaloo'tsioa'ttai)
in a bold decided style.
Risolutissimo (r'eesoa-lootees-simoa], with extreme
resolution.
Bitardando (r'ee'taardan-dod], ritardato (r'ee'taar-
daa-toa), a gradual delaying of the pace, with
corresponding diminution in point of tone.
Bitenendo (r'ee-tenen'doa], holding back in the
time, slackening.
Bitenente (r'ee-tenen-tai), ritenuto (r'ee-tfnoo-toa),
slackening the time. The effect differs from
Kitardando, by being done at once, while the
other is effected by degrees.
Scherzando, scherzante, scherzo, scherzevolmente,
scherzosamente, scherzoso, (sker' tsan-doa, sker'-
tsan-tai, sker' -tsoa, xker'tsai'voalmain'tai, sker' tsoa- -
samain-tai, sker' tsoa- soa], in a light, playful, and
sportive manner.
Segno (sai-nyoa), a sign ; as dal segno, repeat from
the sign.
Segue, seguito (seg-wai, seg-witoa), now follows
or as follows. As segue il coro (seywaieel ko-roa],
the chorus following. Sometimes means, in similar
or like manner, to show that a passage is fo be
performed like that which precedes it.
Semplice, semplicemente, semplicita, con, (saim--
pleeciuii, saimplee'chuimain-tai, koan aaimplee'-
chitaa-), with simplicity, artlessly.
Sempre (sewpr'ai), always; as sempre staccato
(sem-pr'ai stakkawtoa], always staccato, or de-
tached.
Serioso (ser'-ioa-soa], in a grave and serious style.
Senza (sain-tsaa), without.
Siciliana (seechee - liaa-naa}, a movement of slow,
soothing, pastoral character, in six-pulse time,
resembling a dance peculiar to the people of
Sicily.
Sforzando (sfor'tsan-doa), sforzato (sfor'tsaa-toa),
imply that a particular note is to be performed
with emphasis and force.
Sincopato (sin-kopaa'toa), to connect an unaccented
note with the accented one which follows.
Slegato (slaiyaa-toa), separately or disconnectedly.
Slentando (slentan'doa), a gradual diminution in
the time or speed of the movement.
Sminuendo (smee-noo-en-doa), gradually diminishing
the sound.
Smorzando (smor'tsan'doa), smorzato (smor'tsaa-toa),
diminishing the sound, dying away by degrees.
Soave (soa-aa-vai), nearly (swa&vai,) in soft, sweet,
delicate style.
Soavemente (soa-awaimain'tai), with great sweet-
ness.
Solennemente (soalen-naimain-tai), solemnly.
Solennita con (koan soalen - nttaa'), with solemnity.
Soli (soa-lee), pi., implies that two or more different
principal parts play or sing together i.e., one
voice or one instrument of each part only.
Solo (soa-loa), sing., a passage for a single voice or
instrument, with or without accompaniments.
Sonorammente (sonor'- amain- tat), sonorita con (koan
sonor'-itaa-), sonorously; with a full vibrating
kind of tone.
Sostenuto(*os-<eoo-ort),sostenendo (soas-tenen'doa),
with tones sustained to their full lengtli.
168
MUSICAL TERMS.
Sotto (soat-loa), under ; as sotto voce (soat-toa
vo-ehai), in a soft subdued manner, in an under
tone.
Spirito con (koan sperr'itoa), spiritosamente
(spee'r'itoa-samain-tai), spiritoso (spee-r'itoa-soa),
with spirit, animation.
Staccatissimo (stak-katecs-imoa), very detached.
Staccato (stakkaa-toa), distinct, short, detached.
The tones separated from each other by short
rests.
Stentando (s(ain-tan-(foa}, with diflSculty or distress,
Strepito con, Strepitoao (koan gtr'ep-itoa, str'ep--
itoa-soa), in an impetuous boisterous stylo ; noisy
manner.
Suave, suavemente, suavita con (son-mi- rai,
300-aa-vaimain'tai, koan *no-aa'vitaa-), the usual
form is soat-e, with sweetness and delicacy of
expression.
Subitamente, subito (soobee-tamain-tai, soo-bitoa],
quickly, as volti subito, turn over quickly.
Tace (taa-chai), Tacet (tai-sef), Latin. Silent.
Tacia si (see taa-chiaa], let it be silent.
Tanto (tan-toa), so much, as non tanto (non tan-too)
not so much.
Tardo (tar-doa), slowly, in a dragging manner.
Tasto solo (taftoa xoa-loa), indicates that certain
bass notes are not to be accompanied by chords.
Tempo A, or In (aa, in tem-poa}, in time, an
expression used after some change in the time,
to indicate a return to the original degree of
movement.
Tempo a piacere (tenrpoa aa pyaachai-r'ai), the
time at pleasure.
Tempo Commodo (tem-poa kowodoa), at a convenient
and moderate speed.
Tempo frettoloso (tempoa fr'ait-toaloa-toa), acceler-
ated time.
Tempo guisto (tem-poa joos-toa), in exact or strict
time.
Tempo ordinario (tem-poa or'-dinaa-r'ioa'), at an
ordinary and moderate rate.
Tempo perduto (tem-poa ptr'doo-toa'), a gradual
decrease of tini' .
Tempo primo ((cm-paa pree-moa], return to the
original time.
Tenuto (teiioo-toa), held on, the tones sustained for
their full time.
Timoroso (tee-moar'on-soa), with timidity, awe.
Tosto (tortod), swift, soon.
Tranquillo (tr'ankoocel-loa), nearly (tr'ankicil-loa),
tranquillamente (tr'ankoceel-lamain-tai), tran-
quillita con (koan tr'ankooeellitaa-}, with tran-
quillity.
Trem&n&o(tr'e>nan-doa),treTHOlsin<lo(ti-'e>n-oalan-doa),
tremolato (tr'em-oalaa-toa), tremolo (tr'em-oaloa],
a tremolous effect produced by rapid reiteration
of a sound.
Troppo (tr'op-poa], too much; generally preceded
by the negative non ; as, adagio non troppo
(adaa-jioa non tr'op-poa), not too slow.
Tutta, tutte, tutti, tutto (toot-taa,-ai,-ee } -oa], all :
as, con tutta forza (koan toot-taa for'-tsaa), with
all possible force. Tutti (toot- tee), the entrance
of all the instruments after a solo.
Tutta forza con (koan toot-taa for'-tsaa), with the
utmost vehemence ; as loud as possible.
Un, uno, una (on>t, oo-noa, oo-naa), a, as un poco
(oon po-koa), a little.
Un poco ritenuto (oon po-koa ree-tenoo-toa], gradually
slower.
Va (vaa), goes on; as, va crescendo (vaa kr'ar-
then-doa), continues to increase in loudness.
Veloce, or con velocita (velo-chai, koan velo-chitaa'),
in a rapid time. Sometimes signifying as rapid
as possible.
Velocissimo (vai-loacJues-simoa), with extreme rapid-
ity.
Vigoroso (vee'yoar'oa-soa), vigorosamente (<-
ffoar'oa-samain'tai), boldly, vigourously.
Vivace, vivacemente (veevaa-chai, veevaa-chai-
main-tai), quick and lively.
Vivamente, vivacita con (vce-vaamain-tai, kotn
veevaa-chitaa') with briskness and animation.
Vivacissimo (vee-vaachees-simoa), with extreme
vivacity.
rVoce (voa-chai), the voice.
Volti subito (vol-tee noo-biloa), turn over quickly.
Volante (rolan-tai), in a light and rapid manner.
GRADED TIME EXERCISES
For Pupils preparing for the Elementary Certificate,
2.
:d
d :d
d :d,d
d : :d
d :d
d :
d :d
d :d
d :d
d ,d :d
d :d Id :
d :d
d :-
3.
d : |d :d
d :d ,d |d :d d : |d : -
d : |d :d d :d |d ,d :d
4.
d : |d :-,d d : |d :d d :d ,d |d :d d : j :d ,
d : |d :d
5.
d :-,d|d :d d ,d :d |d :d Id :- | :
d :d :d
d :- ,d :d
6.
\
:d :d d : :d d :d :d ,d d : :
d :d |d :- ,d
, :d Id :- .d |d :d Id
St. Co. (Xew).
d :d ,d |d :d Id :
:d ,d |d :d d ,d :d id :- ,d id
(169)
170
Graded Time Exercises.
7.
:d d : Id : Id :d,d d : I :d d :d,d
d :
:d
d : I sd d : :d d :d ,d Id :d d : Id
:d
8.
d : :d Id :d :d .d Id :- ,d :d
d :
:d d :- ,d :d d : :d d :d :d ,d d :
e.
Ud :d
Id 4 -d 4 :d
:d
d ,d -d ,d :d
SI 1
:d .d
d ,d .d 4 :d ,d Id :d ,d d
10.
Id : :d,d.d,d
d :- :d Id :d ,d :d
il
d :- ,d :d Id :- :d ,d
d :d,d.d,d:d ,d
11.
Ud :- :- |d :d :<
d :- :- |d :- :- d :- :d |d :d :d d :- :- |- :- :
U d :- :d |d :- :d d :- :d |d :- :- Id :d :d |d :- :d
St. Co. (New).
Graded Time Exercises.
171
:d
12.
d :d |d,d,d,d:d ,d d :d ,d,d|d : |d ,d,d:d ,d |d,d,d,d/
:d d ,d,d:d .d |d
13.
d :d ,d |d :d d :d ,d,d|d : d ,4 :d ,d |d ,,d :d ,d
d :d,d.d,d|d : d :d ,d |d ,,d :d d :d ,d |d,d,d,d:d
II
d ,,d :d ,d |d ,,d :d ,d
d ,d,d:d ,d |d :
14.
d :- :d |d :- :d d :d :d |d :- :- d :- :d |d :d :d d :- :- |d :- :-
d :d :d |d :- :d d :d :d |d :- :- d :d :d |d :- :d d :- :- |- :- :-
15.
|d :- Id :- ,cl |d :d ,d
d : |d :d ,d
d ..d :d .d
|d ,d,d:d ,d d : |d :d d,d.d,d:d ,d |d :d ,,d d
Id :
St. Co. (New).
d :d ,,d |d :d ,,d Id :-
172
16-
Graded Time Exercises.
d :d :d .,d Id :d :d ,d
:d Id :- .d :d ,d
Ud :- ,d :d,d,d,d
17.
d :d :d |d :- :d Id :- :d |d :d :d Id :- :d |d :d :d
d : :
d :- :
Ud :d :d |d :- :d I
il 1
II
d :- :d |d :d :d Id :d :d |d :- :d Id :d :d |d :- :d
d ' :- .d :d .d
d :- ,d :d ,,
I :d
19 '
d ;- :d .,d Id :d :d ,d,d
d,d.d,d:d ,d :d ,,
:- ,d Id
d ,,d :d A d ,d Id
I
:d ,d
20.
d ,d ,d :d d d ,d ,d :d ,d
d :- :d |d :- :- II
d : :d
d :- :
:d ,,d
:d ,d ,d ,d
, :d Id :- I :d ,d Id :- ,d |d : Id .d :d,d,d |d ,d
:d,d,d Id :d |d : I :d | :d | :d .d |d
:d,d.d,d Id :d ,d |d :d
St. Co. (Xew).
Id
Graded Time Exercises.
173
For Pupils preparing for the Intermediate Certificate.
These exercises are to be sung on me tone as well as in tune.
No. 1. KEY G. M. 72, twice.
|d :- :d |d :r :n r :- :- |s, :- :- PI :r :d |n :-,r:d s :- :- |-
|d :- :d |d :r :n f :- :n |r :- :
No. 2. KEY E[>. M. 72, twice.
Un :n :PI |n :r :
Un :r :n |f :- :s [1 :- :
d :- :- |- :t, :d
PI :-ir:d |n :- :r d :- j- |- :- :
No. 3. KEYBb- M. 96, twice.
:s, Id :- :d |d :t, :]
s, :- :
:s, n :- :- |- :r :d f :- :- |- :n :r d :
:_ :Sl d :- :- |- :
No. 4. KEY I>. M. 66, twice.
5 :- :f |n :r :d 1 :- :- is :-
:- f :- :n,r|s :- :f,n r :- :-
n :- :- |f :- :n l :s :fe |s :- :s 1 :t :d' |n :- :r d :- :- |- :-
No. 5. KEY A. M. 80, twice.
d :- :d |n :r :d f :
:- :r
d :- :t|,d|r :- :d,r
St. Co.
d :- :- |- :ti :d r :- :si |n :- :r d :- :- |- :-
174 Graded Time Exercises.
No. 6. KEY I). M. 72, twice.
: :s |n :f :s 1 :- :- |- : :1 1 : :1 |r :n :f s :
:d |d
:d' It :- :- I- :1 :s f :- :- |- :n :r n :-.f:s |s : :t| d :- :- |- :-
No. 7. KEY G. M. 112.
lid :s, |d,r:n,f s :- ,f |n
(11 : :s : ,s f : |n
,n
r :d |f :n
r :d
n : |r :s
No. 8. KEY E!j. M. SO.
:n .rid :d .4 Id :n
: ,d|f :-.n |r :d t, :- |-
t : |d'
s : ,s |n :d
fe :
r :- |d
No. 9. KEY C. M. 72.
d ,r :n ,f
1 .1,1:1 .1 |s
(Id 1 :s ,,s |n :s
d 1 .d'.d'id 1 .d 1 |t :- .d 1 n 1 .r^d'st .1 |s .f :n .f n :r ..d |d
:- .s
No. 10. KEY At?. M. 80.
s, :1, .t, |d : .1
n ,r,d:r .d,t||d
:t, .d |r
> If ,n,r:n .fe |s : .81
1 1
: If .n :r .d
:- ,n
H
n :- .r |d ,ti,d:li
v. Co. (Xew).
|d :
No. 11. KEY F. M. 72.
Id :d |d ,s, :
d,t|,d,r:n ,d |r :
Ur,d,r,n:f .1 |s ,f,n:r ,d
No. 12. KEvEb- M. 84.
( |n :- ,f s ,,s :s ,s |n :- ,d
Graded Time Exercises. 175
n :- ,r |d : s ,f,n:r ,f |n ,r,d:ti ,r \
n :n ,,n |n ,d : s .,1 :s .f |n : ,d /
n :r ,,d |d :
d 1
|r :n
,r:n,f
f :f .f |n :- ,,n
s :d |r :- ,n
d :
No. 13. KEY J. M. 88.
:n,,r d . :d . |d :t|.d r
| :d ,,r n : |-.,r:d,t|jd
,S|'.feiiS| }
,d:t|.d
n ,,r:d | ,s:f,n
r, :d .
No. 14. KEY A. M. 66.
ii :si ,S| In : :- ,,r d : .d :t| ,d n .,r:r
,d t
:- it ( ,d:r ,
No. 15. KEYBb- M. 72.
S| iS| ,S| ;ri| ,S|
d .d ,d :t|,l, .s,
No. 16. KEY C. M. 90.
:d ,t| ill ,S| 1
n ,r :f .n,r:d ,t| |d
pi)
d
: .s, j
:d,,r
:d ,,
n :d |s :- ,n
n :d |s
:d ,,
n :s
St. Co. (\'-'w).
r : |d
17G
No. 17. KEY K. M. 104. (A beat for every pulse.)
,,f|s :n :d' |t :-.l:
:d s :n
Graded Time Exercises.
f.l :s.f :n ,r |n :- :n,,f
s :-.! :s |s :
f n :-,r:d,,r|n
:d',t:l,s|8 :n :d.,n r :- :- |d :-
No. 18. KEY F. M. 88.
n .r Id :- .d :r .n
n :d :s,f f\
f :n :s,fe,s 1 :s :d,t u d
:- :l u t,,d
:r
}''
No. 19. KEY I). M. 80. [Tripletted tlirec-pulse measurc=nine -pulse measure.]
:n
s :f |
f ,,f :f
d :
No. 20. KEY-Eb- M. 108.
n *n |n .r :d .n
td' It :1 |s :fe
ltd' It :1
_ :n
:d
:f |n :r,d
:n.f
n : |r
No. 21. KEY . M. 90.
d :
n :d
s :f .n
r :- ,r
s .d :- ,n If :f .,f in :
n n * .n
r ,r :-
f .f :-,n |r :n ,fe
d ,S|5-
St. Co. (AVirJ.
ADVANCED RHYTHMS,
For pupils preparing for the Matriculation and Advanced Certificates.
For the Time Exercise of the MATRICULATION CERTIFICATE (requirement 2) Nos. 1 to 17 should be
practised to laa on one tone, also in correct time and tune. They must be sung at the rate marked. The
key may be changed when necessary. The test used in the examination is sent from the College and not
seen before, but it contains no greater difficulties than these.
For the Time Exercise of the ADVANCED CERTIFICATE (requirement 1) any one of Nos. 18 to 42 is
chosen by lot in the examination, and sung on one tone at the rate marked. The candidate also sings to laa
a test sent by the College to the examiner, and also writes from ear two or three measures of " Elementary
Rhythms" sung to him.
1.
KEY A.
S|
M . 88.
Na - tive
land,
.,d : r ,,t| I t|,d.-
I'll love theel ever,
:d ,,
Let me
Bishop.
n : - .n : f .,r /
raise the wel-come;
't,
strain,
Mine were
ban
.ti :n .
ish'd feet that
r,d.-
:d,n
Hop'dto
i:ti :li \
press thy turf a
(
gain!
Now these eyes
.PUT : t| .si iji
il - him' J with) glad
:d
:n .,r j
As they'
d :- .li :t|,n.- lit
scan thy beauties I o'er,
: Si .,f, In,
Ne'er a- ' gain
.f. :. .1, J
shall melt in '
lit]
f I sad
:d
noss,
:d .,t, |t,,
Part - ing' to
re - turn
:d ..d /
O Bri-i
II
d :- .8 ( :li,d.- |s (
tan - nia ! native ' land,
P1| .,f || S|
na- tive| land,
- .d : t| .,r
I'll lovethee
r,d.- :-
J. CUBWEN & SONS, 8 & 9 Warwick Lane, JS.C. Price One Penny. Where also may be had
Elementary Rhythms (Jd.) and Intermediate Rhythms
177
178
2.
J1,-f
isle
M. 80.
: f .,r |K ^
clasp 'd by I waves
s ,d :
o - ceac
8
far,
SAAte-ene. TAAsefe.
.d,-r
in an
PI .d'
.f
era
erald
:r . ,r
zone.
that
peers
Bishop.
..f :f .1 J
forth from)
.1 il .8 :-
so I pear) -like
- .8,-8Jft .P)l
From ncy" own
and
fair.
.d 1
: - . In : n .,n|s .f : - .f In .d 1 : 1 .,s j
The! breeze oft inl mur-murs a Iplaintbringsfroma-)
na - tive
t .1
isle
: 8 .,f | n
and my i lov
: r
ere gui
-tar.
II",
3. KEY G. M. 60.
>,n : n .,r
Here we meet, too
ta-ana-te-ene. taralaterele. tafaterele.
3 8
n,-r.n,-f : 8
soon to
: n
Here I'll preM thee
part,
n .,n : n ji |n,-r.n,-f:8
Here we meet, too ' soon to part,
n,-r.n,-f : s ,
fsf.nfn:r .s,f
Here to
leave will
.r
Rossini.
:d .
smart.
to my heart, Where
8
fsf
3
.nf Pi
: r
8,f
8
nf n
8
rnr :
d
Here
to~~
leave
wiU
raise
a
smart.
8
fsf
8
.nf n
: r
.,8
n ,d
% _ ;
none
ha7~
place
a -
bove thee.
4. KEY D. M. 72.
1 .8 ,-t |r' .,d' :
5
t .d'
fate, deai
d
!"AAte-ene.
8 .1,
ta-anatefe.
-8:8 .,se se
Bishop.
.1 :t .1
- er, nev - or )
r',d'.t ,1:1 4 j
| Thy 1 love, thy
n. .f :n .r
f 1 be my hap - py
tit .t :d' .,d'
i 1 get me not, for-
5. KEY A. M. 96.
n s, :d :n
youth to
: t, .n-f
share, Must nev
s .8 :B .d 1
thou may' at grant this
d 1 Itrd'-n'.! 1
lot.
r' .r'
get me
But
:n' .f',r'
hum - ble pr y 'r, For- J
d 1 :
not, For get
afatefe.
me not.
From Handel' i " Samson," p. 6.
f ,1 .8 : f ,8 .n : r,n .d j
'
:- .r,d:r,d.t| s.t.l :,!. :n,f.r
:- .ri,r:n,r.d
\\
f,s.n
d 1
[Advanced Rhythms.]
179
II
6. ;BY F. M. 58.
d :d .r In
s : -,f .n,f | s
.r
From Handel's " Samson," p. 95.
PI .r :n .f |s : -.d'.t.ll s :-,f.n,f|s : -,d'.t,ll
f .n : r .n | f .n : r .n
f .PI : r .n |f :-,s.f,r
j |n,f.n,d: s,l.s,n|d' .1,1: g .f
n : r .,d | d :
7. KBY F. M. 66.
TAA-efene.
From Handel's " Samson," p. 21.
: .8 Id 1 :- .ta,l:ta.l,s|l :- .s,f:s .f,n
f ..r' : d 1 ,r' ,t : 1 ,t 4 s
d 1 .,t : l,t,s:f ,s,n
H-Ui
d 1 .f :n : r .,
8. KEY D. M. 84.
s : n .,r : PI ,r 4 d
1 : t : d'
f : r .,d : r ,d ,t
From Handel's " Samson," p. 35.
n : f .,nf : s
: r .,dr : n
1 1 : - ,d 4 t| : d ,r ,n I f ,s ,1 : f
jit :t :1 ..t
tlr ; - .f .n : r t n ,f
n.d t r : n,f ,s : 1 ,t ,d'>
P! ( f ,s :n r_r .d I d ; - ,n t r ; d ,r t n |
9. KEY F. M. 88.
.d :d .d |f : .f |n .n :n .n |r .n,f : s
II
i|L_-M
From Handel's " Messiah," p. 65.
10. KEY F. M. 88.
f .n : f |n
: .8 |s .l,t :d' .d 1
t ,8 :
From Handel's "Messiah," pp. 64, 65.
.r : s
:n |r : Id .s :s .s |d' : .d 1
t .t :t .t |1 .t,d':r' r
s . l,t : d' I - : t
- .1,8 : 1 .s |fe : s
[Advanced Rhythms.]
180
11. MY F. M. 96.
TAI-AA.
Prom Handel ' " Jcpbtha," p. 1.
4| ,s : f .n : r .dlti.fe: -. :- .n|s,.n : -.f : -.r Isi.r : -.n: -.d s : .d:t ( .l
3|
12. KEY C. M. 104.
(I .1 ;- .sjfe.s :-.f |r> :
\ I I I
.s:-. fin
From Mozart's "Twelfth Mass," p. 66.
' n :d.d
13. KBY B7. M. 72. From Handel's " Acis and Galatea," p. 11.
<
14. KBY D. M. 116.
From Sandtfi " Samson," p. 9.
f :t :t |t.d'; r'.d'; t
U-.d'ir'.d'st |-.d';r'.d';
r 1 :n' : f ' |n' :r'.d': t.l r' :t :-
f :s.f:n.f|r :- :s If.arf :n |r :- :-
I
15. KEY A. M. 60. From HandeFt "SaiUSWl," pp. 33, 34.
16. KEY O. M. 126. From Graun'i "Te Deum," p. 9.
: .sis ;f .n|a : f .n 1 .1,1:1 .1 11 . : - .d'l- .t : - .1 1- .8 : - .1 Is :f |n ||
17. KBY D. M. 80. From 0raw' " Te Deum," p. 21.
Un' :r' |- .de 1 : r> .n 1 If'.n'.r" :- .d' |- .t : d 1 .r' |n',r'.d' :- .t II
18 KEY E M. 60. From Graun't M Te Deum." p. 27.
4|n' t-.r'j'.d'jr'.d'.d'.tld' : : I- .de 1 : - .r' : n 1 .' t :-.t :d'
|| "~l I
10. KEY A. M. 80. From Graun't u Te Deum," p. 29
T! t
: .n ln.de : r 1- .t| :d.n
J 1 *
'
Un .8,l:s I- .f :- .n,r n .f,s : f
. I
[Advanced RhTthma.]
181
20. KEY G. M. 80.
( : . 1 1 d 1 : - . t : d 1 . r
:- ,,t : d 1 .,r' s : - .f :m .,r|n,f.s :n : r
From Handel's " Acis and Galatea," p. 39.
: - .PI : r .,d )
llr .8 : - .r :- .n,f In .s : - .d :- .r.nlr .s : - .r :- .n,f n .r : d
21. KEY E. M. 66.
|t
From Handel's " Messiah," p. 3.
-,dV.t_,l:s .f |n,r.d ; d'
f,n.r :
B.t.
|8,f.n :i'f
-,n.r ; 8 .f |n .,r : d
22. KEY G. M. 72.
From Mozart's " Twelfth Mass," p. 2.
. A.r*x \x JJJL* fjta mmvam ju.v&u>t a j. wciiLii. Ofxaao^
: .n:f In .f : - .n : 1 .s I s.fe: fe : |f.,f:n : r.f.l: d : t,
23. KEY D. M. 84.
s : :
-.,f : n.,r :n,r.d
A. t. From Handel's "Samson," p. 34.
I f ; - .r : r .,dr[ n ; - .d : d.,t|d| r ; - .ti ;t|.,l| tJ d t r t n : md ; t|,d ( l|| ^j :
24. KEY G. M. 80.
Fae.
|s
From <?raM'*"TeDeum,"p. 35.
s,f.-,n:f |n.,fs:.n |n .r :
25. KEY F. M. 120.
:f
- .d' : - .t :1 .8 |f : -,s.n,f : r,ad,r
From Haydn's " Creation," p. 12.
:r |d.n ; -.s ; - .t *
,r,n : s,f .n,r| d .n : - .s : - .t t
j I - -d 1 : - j^r': d' t t.l.g I f : .1.8 ; f,n.r,d _t| ; .r,n ; f.s.^s |f
: n
il
26. KEY G. M. 50.
n,-f:fe .8
te-ene.
From Weber's " Mass in G," p. 32.
.d,-n: s
[Advanced Rhythms.]
182
27. KEY Bl?. M. 60.
.8| |d .,r : n .r,d
ta-ene. From Handel's " Messiah," p. 37.
: -,1 .8,1 | f,-n.f ,-s: f ,s .f ,s |n,r .d : .f j
i.ti.d : .s If .n,r ; r .,d|d
II
28. KEY B?. M. 80.
f : n .,r : n
-aataitee. From .Z7a<W*"Jephtha,"pp. 17, 18.
- t d ,r : n ,d 4 r : n - ,f ,d : r ,n ,d : r I - ,t|,d : r ,ti,d : r
F. t.
- .t" : - .r 1 : - .f I n,f ,8 : g : 8 I -f\ ,f : s,f ,n : f ,n ,r I d
taralaterele. ene-fe. a-ana-terele.
29. KBY A. M. 60. From Handel' t "Samson," p. 33.
[ : d | d :_- I - :_ - [- :- .t.l,,8,>
883
jln : -,-r.dt|l||8|l|t|.drn ; f .r It) :- .d Id
30. KEY Q. M. 80.
.lf,-:siv.fr,-|d
tana-a. tene-O- From Gtraun't " Te DeUm," p. 35.
:r .^nf|n .If,- : sn,-.fr,- Id :r |d
31. KEY A. M. 72.
,: ..
Tanafa-AI.
.s
From Handefs " Samson," p. 66.
:d d :d |d :rr,d.-
il'
:nr,d.- |cP :- .t II .8 : f .n
|rd,t|- :d ,f n :r .,d Id
[Advanced Rhythms.]
183
TAAtefene. TAAte-ene. SAAte-ene.
32. KEY E7- M. 30. From Handel's " Samson," p. 42.
.8|
: .f ,-n| n
:- .f,n|r :d .,
(| .1 :s .f,-n|n .,8 :l,s.f,n|r
tin .d,-t|; d .,1s |s :
il'
(In .fs.lt :d'
: .f |r
.s
.r
d .t| :d .r,nf|r
33. KEY G. M. 80.
: s Is
From Graun's " Te Deum," p. 35.
fe .sl,td':r' |-,d' .t,l:s,f .n,r
II
34. KEY D. M. 66.
f. G.
35. KEY E. M. 100.
il'
U ,f.n,f: s,f.n,f|n .s :
36. KEY D. M. 80.
|- .t,-d':t .r'
37. KEY G. M. 80.
|r .sr,- : t&,-.r't,-
SAAtene-fe.
From Handel's " Jephtha," p. 70.
.d 1 : n .,s : fe
'/
:fe
.,n If : .nf,s:f .n |r
- .n
Safatefe.
f : - .s |n .d : n
From Handel's "Jephtha," p. 105.
,ri.r,n: f,n.r,n|r .f :
,s.f,s: l,s.f,s|f .1 : - .r 1
r'.d' :d' .t |d
TAI-AAte-ene.
- .t,-d':t .
From Graun's " Te Deum," p. 35.
.n
.,rW: r'
SAAte-ene. TAAtene-e.
.t
From Graun's " Te Deum," p. 36.
.8 .f,-s:f .n
d' .,tl : s
[Advanced Rhythms.]
184
38. KEY D. M. 80.
.f'r 1 ,- : n'd 1 ,- .r't,- Id 1
From Cfraun't " Te Deum," p. 35.
.f'r 1 ,-: n'd',- .f'r',-
89. KEY D. M. 84.
n .,rn: n .,rn| f .,nf : f .,nf
AA-efene.
From Handel' t " Samson," p. 97.
s .,fs: s .,fs|l .f : s .1 it, : - .t, |d
To be sung in two parts, the Examiner or some other person taking one part.
40. KBY Q. M. 120. From Handel's " Dcttingen Te Deum," p. Id.
si
: 8 |-
.f,n
:f
f
.n,r
: n
i _
.r,d
:f
:- .li.tiUi
: -
.ti4
ti
: -
.li
.sild
:- -U,
f .8 : n .r I n : r .,d
t, .s, :d
41. KEY G. M. 120.
n : - .fe,s | fe
In two parts, as above.
From Handel' i " Dettingen To Deum," p. 17.
:- .86,1 se : - .l,t |n : 1 .8
: n
|- .r,d:r
.d,ti:n .r |d .t, :
f
.n : r
1-
.n
:d
ti
d
: ti .,1|
Hi
11
1
: -
.t
,1
| 86
.n
:1
: se
42. KBY B*?. M. 120.
8| : d,
:n : si
In two parts, as above.
From Handel't "Dettingen Te Deum," p. 28.
1,
:- .8,
: 1, .f.
r, :, :- .f,
MI
: 1.
:- .tai
1, .d
: r
:- .1,
t, .r : n
:- .t t
d .n
:f
: - .r
F. t.
8, .n ( : 1| : - .r (
8,
:-.d,
:d
df.r
: n .d
:r.t,
d
:-.n
:
:r.d
n
:-.d
:f
-.r
: n
:-.d
'8 : :
- .n
ti :
r :r
[Advanced Rhythms.]
Thesd Exercises are intended for students or classes preparing for the Intermediate Certificate.
Requirement 4.
1. KEY F.
Cadence Transitions to First Sharp Key.
:s ,f :r in :
s :fe |s :s
f :r in :d d :t ( id
r :s |f :r in :fe is :n r :s |f :r In :r |d
i :i r
2.
r
3.
( :s In :f !r :s II :fe |s :r If :s |n :d Ir :t< |d
C I I I i
4.
:d Ir :f |n :s Ife :1 |s :n f :1 is :d' In :r |d
< :d I
ti
5.
\ :d iti :s, |d :s jfe :r ;s :
:f is :n
6.
i
:s If :n |r :d r :fe |s :r In :f Is :n
7-
:s
f :s
:n
d :f |n :
r :r |d
f :r |d
f :fe |s :s r :n |f :r d :t, |d
d 1 :fe |s :s In :1 |s :d n :r |d
9.
:d |n :s
t :fe |s :n
if :r
Id
Fassingr Transitions to First Flat Key.
10. KET D.
in :r |n :d n :f is : Id 1 :ta ll :s Id 1 :t
'
Udi :
:t Id 1 :s In :1 is :
1 :ta
:t Id 1 :r' |dl :
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185 N
186
12.
s :n if :1 It :d' It : Is :ta |1 : If :f IN :
II' '
13.
n
If :n Ir :fe Is : |s :f |ta :1 Is :t
I
j d 1 :t |1 :s If :n |r : In :ta 11 :s If :r |d : II
15. [With imitation.]
l :d r :f |n :f Is :ta |1 :t
16. [Oscillation.]
j s :f In :1 |s :fe Is :- |d' :ta |1 :r' |d' :t Id 1 :-
:f |n :r In :r |d
Extended Transitions Better Method.
17. XT D. A.t f.D.
d 1 it in :d In :f is : d :n |s :d t ( :r |d 8 :
,1*
18.
{ |. =f ... .
19.
il" !f " '
20.
f.D.
:d Id :t, |d g :
A.t
it :- d'f :r
A.t. f.D.
is : I *r :n |f :n.rd :
A.t.
n : If :r In :1 is :
(In :
:d if :r |d :t (
21.
d :r |n :f Ir :d is :
A.t
:d in :r .d
t, :r
f.D.
f.D.
22. A.L f.D.
Ud 1 :t ll : If :f in :- "1| :ti id :n r :r |d s ;
23.
jln :d |r :
If :n |r :
A.t
:r Id :
f.D.
The return transition ia made on the lut note BO that the Exercise can be repeated or the next one taker
without pauae.
[Elementary Transitions.]
187
First Sharp Transitions, shewing Cadential forms of Bass.
24. KEY E. S.B.
( :d
n
g
Id'
:1
8
:fe |s :f
n :d
Is
:n
r
r |d
?:d
s
f
In
:d
r
:r is, :ti
d :1,
It,
:d
f,
si Id
25.
( :n n
r
Id
:n
n
:fe |s :n
f :s
11
:d'
n
r Id
(:d
d
r
In
:d
1.
:r Is, :d
1. :si
If,
:1. s,
s, Id
26.
r
r
f
In
:s 1
:fe |s :n
f :1
Is
:n
f
r |d
1:1
t,
S|
Id
:t.
1,
:li |s, :d
1| 'f
In
:d r
s |d
27.
( :n
f
n
Ir
:n.fe
s
:fe |s :f
n :d'
It
:l.s|f
f |n
i>
ti
d
Ir
:d
t,
:li Is. :.
1, :fe,
Is,
:1. It,
si Id
First Flat
Key, Imitation, and Oscillation.
28. K
BY E.
S :n
d
:r
In
:fe
8
- I- :n
f :s
11
:t
d'
. i
~~ i~"
( :d
n
:r
Id
:li
S|
- I- :d 1 :s
If
:r
d
:- 1-
t:t
d>
:ta
11
:1
r 1
d 1 |t :s
f :n
In
:r
d
:- 1-
i:n
n
:d
If
:f
fe
r |s :n
r :d
Is
:s,
d
. i
i
29. KEY F.
Extended Transitions, without Distinguishing
C.t.
Tone.
f.F.
( *d
n
:s
Id
:r
n
| :d'
f :n'
In'
:r'
di s
:- 1- 1
( *d
d
5*1
In
:r
d
- |- :t,n
r :d
Is
:si
ds.
. !- 1
30.
C.t.
IF.
i :n
d
:r
In
:d
t,
d |r :t,n
s :d'
In'
:r>
dig
:- 1- I
f:d
n
:r
Id
:n
r
d |ti : s id
n .d
Is
:s,
d s,
:- 1- 1
31. KEY F.
With Distinguishing Tone,
c.t.
f.F.
'n
8
:f
In
:r
d
: | :"1
s :d>
Id'
:t
dig
:- |- 1
la
t,
:B)
Hi
:ti
d
: |- :df
n :1
Is
if
d S|
:- 1- 1
32.
C.t
f.F.
r
:d
Iti
:d
r
:f |n :r s
1 :r'
Id'
:t
11,
lid
f
:n
Ir
:d
ti
:si |d '.t\n
f :r
11
:
S|
[Elementary Transitiona.]
188
83.
'"
C.t
f.F.
n
f IB
n
f
|1 :tn'
f .n 1 |r'
t
dig
d
r |n
d
ll
s, |f :,d
t, :d If
8
d8,
34
C.t.
f
.F.
n
r Id
n
8
f In :r s
1 .t :d: |d"
t
dig
d
r |n
d
t,
s, |d :t,n
f :n |r
S
ds,
35
C.t.
i
.F.
s
f In
d
n
r |d :rg
n 1 :r' |d'
t
dig
n
r Id
n
8
81 |1, :*in
d :r |n.f
8
d 8 |
I
I
Sudden Extended Transition and Chromatic fe in Bass.
36. KEY D. A.t.
:s
Ud' :t
(Id :n |f :n
f :r |n :d
r :t| |d :n
d'f :r
:r
't, :r Is, :f,
s :f |n :-
ni .'S| |d ;
f.D.
'd 1 :s |n :ta
l|H :n |d :n
1 :s |f :r
f :n If :
8 :f |n :r
n :1 | s :fe
n :r |d :-
s :t, |d :-
37. KBY D.
:d'
td
|t :ta
n :d |r :n
Sudden Passing Transition.
A.t
:d> Is :'
f.D.
f :f
:tn
t, :d
r :d
II
Chromatic fe and ta (in Air), and Cadence Transition to First Flat Key in
Better Method.
38. KET D. A.t.
8 :fe If :n
d :r Is, :1,
:d
f.D.
f.GK
II
i,n :f Is :in
f,d :r |n :'d
:f
:ta |t :d
1, lit Id :- |df :n |r :d
[Elementary Transitions.]
:f, |ii : 's, :i
D.t.
n :r Id :
n :r Id :
8 :s, 'd ?-
inierraeliiat? fen0iiinns frntn tjje Ctoira.
Selected from the works of Bach, Handel, Graun, Haydn, Mozart, &c.
These selections are intended to give exercise to classes which are preparing for the study of difficult
music, and especially to aid pupils in obtaining the Matriculation or the Advanced Certificates. The keys
may he changed to suit the voice.
J. C.
1.
s
His
KEY A!?.
:r :f
name is
n .r : d .t| : d
ex - eel - lent,
2.
KEY C.
.n 1 n 1 .n 1 : r 1 .d 1
d.f. B>.
|f : *s,
Je- ho-vah's glo-ry
known ; The
3. KEY F.
s I s : - : f I n :-:r |d:-:t|
No more to I Am - mon's God and
4. KEY D.
r" |r':- : d'
No more to
Two Removes.
B 7. t.m. Bach's " Blessing and Glory," p. 11, 12.
s : r : f In .r : d .t, : d
His name is ex - eel - lent.
" Samson," p. 95.
: .r it, .s, : s .r |n
shall I from his presence fly.
" Jephtha," p. 4.
PI : - : r |d : - : ti 1| : -
shall our cym - bals ring.
" Jephtha," p. 4, 5.
i -r If
Their i - dol gods
G. t.m.
King, fierce Mo - loch,
E. t.m.
t :-:! |s:-:fin :- rn'h'r 1 :- :d'|t:-:l|s:-:fln:-
Am - mon's God and! King, fierce Mo - loch,l shall our cym - bals ' ring.
II
(I
II
5. KEY C.
t ;r'.t ; 1 .s
And their
6. KEY D.
d 1 .t
]
bute,
3. t.m.
de't :r'.t : 1 .8
"Jephtha," p.
d 1 .t : d 1 :
92.
tri -
And their
tri - bute.
d 1 .t
rd'.l :t .d"
r 1 .d 1 : r' .n' : r' .d'
" Samson," p. 83,
E. t.m.
t .1 :ti .t :d'
84.
world
t
:t :r'
8 : : s
d' : - : -
world,
rules the
world in
state.
r 1 : n 1
Eules the
rules the
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190
7. KXT G.
f|n .n : .n d t | .d : d .r t, .t, : |t,.c
Brethren.fare- well your kind at- tendance now I
iif : .f |f .f :f .n d : .d |n : .n 1
"Samson," p. 94.
d.f. F.
:r .d 1| : |dr : r .n |
pray for- bear, Lest it of-'
G. t.m.
: .is|f .f :f .n d : ||
you'll nothing hear im- pure.
" Acis and Galatea."p. 52.
: - .r n : f n .r : s .n \
1 1 fend to see me girt with friends, Ex-peot of me
8. KEY E!?. f. A>.
fir : - .r n :f n.r:s.n|d : 8 r
1 1 Mur - m'ring still his gen - tie love, Mur - m'ring still his gen - tie)
B9. t.m.
!ld : T : - .r n :f |n .r :s .n |d : | : ||
love, Mur - m'ring still his gen
9. ur B?.
(i : | :n, 1| : lt| :
And his hands
,.n : In :- .n is : IB : s,
\ 1 par . - ed the 1 dry land. Foi
,|n : :n if :- .f |n :r
( \ sea, and | he hath fash - ion
1O. XBT F.
,| :n .r :n - .r :n :n .r f .n : r .
tie love.
" Come let us sing," p. 20.
d.f. A?.
d :1, |f s :f .
form - ed and pro - )
B>. t.m.
"r :- |d :t, .
His is the i
f. E!7.
taf :>|-:- -
d it.
"Israel," p. 26.
d :t, .1| pi : :
up - on the! ground,
si : f, .d r : n ,t| : d
up - on the ground, mingled with
1 B
1 1 Mingled with the hail, ran a- long
G. t. m.
,i :n .d :r - .r : r :*d .d Id .t| : 1 ( .
\ \ mingled with the hafl, ran *- long
(|- ,ti :d : n .r d : - .d : t| .d ti :
' the hail, ran a - long up - on the ground.
[Intermediate Transitions.]
191
I!
11. KEY E.
s : f ; - I n
Take the heart
: s II : r : - |s.f ; n.r : d
you' fond - ly gave ;
| 1 mine;
d. f. D.
;- fs :f :- |n
Take the
12. KEY B>.
: s, In, : d| |t a : s.
But I woe ! when burst - ing
heart
d. f. A?.
" Jephtha," p. 15.
: r' : n 1
lodged in your breast with
you
fond-ly
gave.
un - con - troll' d, The
f, :r, |r :d
glow - ing me - tals
Song of the Bell," p. 36.
t, : m, | 1,
fierce ex - pand.
13. KEY B7.
;d
His
E?.t.
t| .d : r .t| ; 1| .d i r .1 ( ; t\ .d : r .t t
d. f. A 1 ?.
drous 1 frame
to
dr :
raise,
"Blessing and Glory," p. 10, 11.
: S
Whose
lone
glo
: : d"
de -
d'.s :l.t :
f
~~ > i
end
: r
rious
n :
praise.
14. KEY E'?.
Three Removes.
Haydn's " First Mass," p. 52.
a. d. f. G7.
: s.s s : s | : 1
He is bless -ed tha
s : s | : s
i com - eth, O
s :- |- :-
Lord.
- - :- |r :d j
in thy '
|t| : | r : d j t|
:-.d|r :d 1
, :- 1 :
iame.
, , l , j
Ho |.
ly i
E7.t. m. 1.
"s : d 1 |t : r 1 c
I 1 :- |s :1
)less - ed, is
r : | r .,n
: f .,s 1 f : | n y
He is 1
bless ed
that com - eth. |
16. XBY 0.
.n : t .t |t :
Un-will-ing-ly
.t it .t : t .d 1 i
theirl super - sti - tion
A.t.
' . : .d 1 id
yields this rest
m. 1. "Samson," p. 1.
: I .d :d .r .
; To breathe heav'n' j
.n |f .r :r .d
fresh bio wing,pure and
sweet.
[Intermediate Transitions.]
102
16. KET D.
d. f. C.
i :
s |s : - : s 1 :-
:- I s :it r' :-
1
In dia mal dance
a - round
f. r.
H
n" :- :- | : : j
blue,
: : r | f : - : r n : -
In dis mal dance
!l
f :- :- |n :- :- n
:- : - Id :- :r n:-.
round the fu
r - - nace blue. '
17. MY A>.
"i
II
: Is :d
De signed for
t ( : t| f : f in
joy and peace, u I made
B7. t. m. 1.
S
*'f :n |r :r
to ro - Tolt and
d . '- |
cnme.
18. KEY C.
Maefan
M
n 1 :- |8' :- f :-
- |n' : t : |d' :
" Jsphtha," p. 4.
the fur
nace
i. d. f. A?.
J
" Song of the Bell,"
f. D7.
:- ."it|r"
The toe
p. 36.
: r
Sport
up
Xacfarren't "May-day," p. 30.31.
A. t.m.l.
: I :".|
I chant ed I ground ; A.
in :
I joy
:d .tin
oua, I joy
: d .ri n : d | s : n
oua t throng now comos a
long.
II
10. KEY B>.
: |d : d .r |n .n :
,: ti.d
Gome,then,myl daughters, choicest art be
G. t. m.l. E. t. m. 1.
| .i,d: d .r n
-stow,
) j brow, And in your songs for ever be con- fess'd The valour thatpre -serv'd.
" Judaa Maccabseus," pp. 98, 99.
| .r:n.f
To weave a
.t|r'.t :l.s
r .r :
|r .r : r .
chaplet for the victor ' s)
20. KEY F. Two Removes. More difficult rhythms. " Jephtha," p. 40.
G. t. m.
|d : .r |t, .t, :1
He
f .f :s .r |n .n : .t|
mad* a bloody slaughter, and pur
n .r :n
-sued the fly - ing foe
t| ,t| : 1| .8)
till Imght bade sheathe thel
[Intermediate Transitions.]
193
i 1
sword,
21. KEY A
i
.d :n .d |f t .d
And taste the joyi of
f .,f:f .n |d
vio - to-ry and peace.
" Jephtha," p. 33.
d. f. G.
H.s : s .s : s .s il :n t I f .,s : f .,n ; f ..r i s ..1 ; s .,f : s .,*n j
In vain they roll their) foam - ing I tide,
1 : s ,,f : s
X - .n : n ,n in
their foam-ing | tide.
il
22. KEY E?.
: .d |n
Be - gone,
F. t.m.
IT
Fly
.s,
be -
gone,
ft it) :
my I child !
.s, |f .r :
And leave me
,t| |r .r :r .d
Thou hast un - done thyl fa - ther.
"Jephtha," p. 61.
li .1, :
.!!,
to the
23. KEY B?.
n .d : .S| |d : n
Saying, The sword of
t .t :r" .t |s :
for his Is - rael fought,
'God
.n |d .d :
and Gideon."
r .r :r .d 1 1,
rack of wild des-pair.
" Judas MaccabaBus," p. 56. C. t. m.
.d :d .r |n : .T'{
It was the Lord
that'
.d" :n' .d 1 1 1,1.1 : .d'.t.d'ls : 1
| And this their wonderful salvation! wrought.
24. KEY C.
r 1
Ha!
.8,8
" Samson, ' p. 68.
.s :s .1 |t .t rt.d'.r'.d'j
I thought that labour and thy chains had)
il
SI
il
dostthou, then, al -rea-dy sin - gle meP
D. t. m.
: ,n .n,n | l.s .s : s,s .s ,1 it .,1 : 1 .t | s .s : s ,f .s ,r /
Hadfortunebroughtmetothatfieldof| death, where thou wrought' st wonders with an ass's*
1 .1
tam'dthee.
jaw, I'd left thy carcase where theasslay
dead.
25. KEY C.
s .s :s .s |d' .d 1 :
For the horse of Pharoah
.d' Id'
went! in
D. t. m. "Israel," p. 133.
:d' .r 1 h'r'.r" : .r'.d'.r'it .t :t .d'.r'l s
with his chariots and with hisl horsemen in - to the sea.
[Intermediate Transitions.]
194
26. KEY Gfr.
. t| : n .t| | d . t| :
Be - hold thy servant,
Three Removes. More difficult Rhythms. "Samson," p. 44,45.
.t, Id .t| : n .t| | r
Thy" servant in dis-tress,
God!
:- .r |r :-
be - hold,
!l
e n : r .d |t| .lj,S|: d .t|
To dust his glo -ry they would
r .d_,t|:n .r,d|f .n,r:g ,f,n
tread,To dust his glo - ry they would
r
tread,
.Is
Anc
Js :f .jn
n :
i '
him
| num ber
27. KBY B?.
, id : d .d 1 1| : .n,
( | Here lies the proof: If
f.E>.
,ti .d :r .s, |d : .rl
f \ in- vo - cato his aid. His
jit : .t |t
.t :1 .8
' 1 spells that gave our hero
.r,d|t,
a - mongst
- -t,
the
dead.
l,.li :1, .t, |d :
Da-gon be thy God,
f .f :f .n id :
glo-ry is con-cern'd.
d 1 : .s Id 1 !
strength, Then know
"Samson," p. 74.
.d :d .r 1 1, .t, :
With high devo - tion
C. t. m. 1.
.d : d ,r |n .."s: s .1
Let him dis- solve those magi
.n :f. ,s|d :
whose God is God.
II
II
28. KBY B!7.
: g |r .n : f .n
Sound then the last a -
II
f .f :s .r |n :
with in - trepid hearts;
29. KIT E.
: |n .,r:n
d : | .d : d .r
larm ! And to the
D. t.
.d in .n : r .df |t .,t : t .d 1
Del -pendent on the might of Israel's
G. t.m.l. "Jephtha," p. 31.
"s .,r : r ,n |f .f :
field ye sons of Is - rael !
God.
8 .n : r .d
Taught by great Al - fred, never from your
door,
If
MI :n_
I thrust the
poor.
. d. f. a.
No
Macfarren't "Christmas," p. 21.
-.f|s :1 1 :r
will you re -
lent - less
tale can to the time more
r .,d:d.d |d
fitt - ing be than one
30.
KBY B7.
: .1, Hi
His migh
ty
r :- .r, |f, .,f,: t ( .
griefs, His mighty griefs re-dress,
flntermediate Transitions.!
" Samiwn," p. 43.
I .HI : HI .HI
His might;
II
1. s
griefs,
d. f.
I .li :l|.t| d s I :- .di .t .r :f .n |d
His mighty
:
E">. t. m.
: r .n |f .f : f ,n
Nor by the hea-then be they
II *K
griefs,
told,
His mighty griefs re-dress,
F. t. m.
.is : r .n if .f : f .n
|de
Nor by the I heathen be they told.
31. KEY G.
Two and Three Bemoves. Advanced Rhythms.
A. t.m.
" Jephtha," p. 102.
n r : r ,n ,f : r jn ,f n ,r ,d
: r ,d ,t, : d "r :
r,n,f:r,n,f n.r.d : r ,d,ti: d
j| Still I'm of thee
32. KEY G.
, 1 si : - ,f e,,S| : li t t\ ,d
pos - sess'd Such
n ,,d : s : HI
is kind heav'ns de - cree. '
Macfarren't " Christmas," p. 26.
s.d.f. Bt?
fi 8 ~ . f i : 8 |P1| .,HI i
red up - on the)
.,li d ,,ti : d I
1 1 Blood of Dan - ish
j,f, :- I .1,
| 1 snow, A -
33. KEY G>.
y! ,t| | d .t| : n ,t|
Be-hold,be-holdThy
E>. t. m. 1.
ii- .de n :r .d |t|l t ,S|.
war - riors la
1, :- .r :d
mid the con
d .t| : .t| d ,t| : i
ser-vant, Thy ser-vant i
t .d r,d.t|
qu'ring Sax - ons.
" Samson," p. 42, 43.
n ,t| r : | :
n dis- tress,
: .n |f .n ,r : s .f ,n j
Re turn, re - turn,
fir : .l,s|s :- ,f,n
O God!
n : .r si :
hold Thy ser
Re - turn, O God of }
- .f rT :r" .,d|d : ||
M hosts! be- hold, be-
vaut in distress.
34. KEY B|?.
And
hear'n
Maefarren't " Christmas," p. 22.
G. t.ra.l.
li :
- .r : d .1| d .,ti: d :
li 11
.r :d,l|.-
n :
:is
breath
- ing forth his sor - rows,
Lifts ' up
his withered
hands :
:
:s.
d : :d
S| :
d
"" ~*
n
~
. "~*
iy
King who
reigns
on
high,
: r
: n
1, :s :-.
f
n :
r
:
d :
I
hirq
who
hears
the
poor
man's
cry."
The)
[Intermediate Transitions.]
196
II
35. KBT B&. L is O. Minor Mode. "As the Hart," p. 8.
.t| |n .,t| : t| .d Ir : se, .1, |t| t .t|,n,lr ,,r :d . t t ,ti)
My tears have been myl meat day and night, While theyl dai - ly say unto'
Id
me,
C. t.ni.
"r 1 .,t : t .1,1 1 se
dai - ly say unto me,
in 1 .,d':l .,se|t
I Where is now thy God P
II
If
36. KEY F. X is D.
1, : |1| : ill
Fount of I mer
s.d.f.
End
.,1,| se, : n (
cy free - ly
.,!,( se, : HI
d :-
flow
Rossini's " Stabat Mater," p. 16.
- *' : ~ '
less
streams of love be -
stow -
t, :-
ing.
37. KEY B7. More than Three Removes.
, se, : - : seill, : - :d |t| : - : HI |
1 Song of the Bell," p. 27.
flii :- :
' Night con:
Night comes) on
with sa - ble I man - tie,
O. t. m. 1.
| "8 : - : 8
Soft - ly
:- :1 |t :1 :s Id' :s :n
sleeps
the burh
er peace
ful,
r. s. d. f. E?.
111 : :f
n : - : - |r
dread, soft
-
: r
< With - out
j, : :
B7. t.
: : pi, :-
Guard
:t,
- ed
d : - : d rn | f : - : r
sleeps the pea sunt
n : - : d
peace
ful,)
G. t. m. 1.
d : - : de | r : - : re I |f| s : - : -
and! care -
by
the law,
:r d :- :d
ful watch - ing o - ver ' o'er
[Intermediate Transitions.]
s :_&_ : n \ *__'_{_ : r I d : - :
his lone - ly I bed.
fr0m it Classics.
More than Three Removes.
38. KEY E. r.s.d.f. C.
.s :s .s :1 .t jd ! .d :d'n' .r 1 :d' .t Id 1
Of swift-er flight, of ' swift-er flight and sub - tier ' frame,
d.f.Bb-
" Jephtha," p. 42.
Of
:r :n
swift - er
r
flight
.r :r .r
and subtler
frame.
39. KEY C.
.1
t .s :d' .n 1
d 1 .t,di:r' .s
- .d' :d>
- men,A
Beethoven's " Mass in C," p. 23.
s.d.f. Ek
d'
men,
d.f.Db-
A .
id 1
men, A
d 1
men,
C. t.m.l.r.s.
A - j
n 1
men,
d 1 .
men.
40. KEY
:d
When she
r.s.d.f.
n
go -
:s
saw Him,
It
all
.,f:f .,i
the Lord of
f :n .
glo - ry,
:- .t
His
:d .,
All his
Rossini's "Stabat Mater," p. 9.
jr," p. y.
:f -,fj
marr'd and'
:- .d 1 |de' :- .de 1
age marr'd and
Ab- t.m.l.r.
n| ; if ; I :'d' l-.s ;fe.s
from the
:- .s
Fa
ther's
ry, Smart
d :
rod.
41. KEY G.
:s
And
|s.f:n.r
in his eyes with
s : |n :
bright - ness
"Creation," p. 42.
f : I :f n : >
shines The soul, >
l.r.s.d.f.
:n
the
ise : | :se
breath
and
: | :f .r d
ir :d
age l of
his
d :-
God.
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198
42. KEY D.
Graun't " Te Deum," p. 9.
j The
<|8 :
s :f.n |s :f
n 1 .1 : 1 .1 11 .,s : s .d>
-.t :- .1 |-.s :- .1
good - ly fel low
f ,n.f | n :
ship of the prophets praise Thee, praise
B. d. f. F.
: R :l,.n f
praise Thee, The n
d 1 : t.l .s,f |n : -
.f :f .f,f|f .n :
>-ble army of martyn
r : 1
Thee.
<| Thee,
O. t. m.
j,.f.n : |1 .8 :
1 1 praise Thee, praise Thee,
praise Thee, praise
!
43. KEY GK Transitional Modulation. Two Removes. " Israel," p. 100, 101.
A. t. m. f. D. X is B.
.8
The
n : d .d |i t si : s,.s
depths were congeal - ed, the
n
: d .d
:n.n' id 1 : 1 .1 |se
:n
depths were con-goal - ed, the) depths were congeal - ed.
:d
44. KEY A.
\ Like
if.
me, a - vene to
" Samson," p. 49
:- |- :r.d|t, :- |
each
de - light,
:r >
She '
: | : r | se : I : t ir : | : n I d : | :1|
wears the te - diousl wid - - ow'd night, She
H
d. f. GK
: | :r
wean
the te
dious
wid
ow'd night.
45. KBT B>.
(in :d :1
r : : :n
"Acis and Galatet
: f n : r : d t,.r : d
i | Melt - ing
C
mar
t. m. X is A'
det : : t d 1 : s
man, last
: d 1 r' : t : s n 1 :
1 1 love.
,,fi :1 :f
Melt - ing mar
n 1 : 1 : d 1
man fill the grove.
t :d' :1 se :
1 1 Melt i
ag mar - man,
last ing love.
ing
[Advanced Transitions.]
199
46. KEY P.
|n : n .n 1 1 .1
In the warm! sunshine
II
II
r .r : r
ver-si - ty,
: |n .n
: n .ba
O. t. m. L is E.
se : T | s :
ne of our prosp'rous
days, friends swarm !
.r :f .n
d
' II
draw in their
head.
II
47. KEY C. L is A.
: n .ba Ise .1 : t .d 1
till Thy peo - pie pass
I- :r'
ver,
"Samson," p. 14.
t| : t ( .Id t,.t, : t,.d I
But in the winter of ad-
"Israel," p. 152.
d 1 :t .1
which Thou hast)
pur
chas
D. t. m.
I.SI^IL :t| .d |r .n :f .s |l__.t_ id 1 .r' |t
o - ver, Lord.
ed, till Thy peo -pie pass
48. KEY A.
:r .d |t|.r : d .t, il, :r|.r, In, : -.HI
u ; r .d | t|.r : d ,t,
' I Thy peo - pie
Thy peo - pie | which Thouhastpur - chas-
ed,
li II, :n
they shall be
'Israel," p. 128.129.
d. f. G. L is E.
fe,se,:sei.l| \
still, till Thy
Jt|.d ;r .n
| people pass
49. KEY D.
II
: |f :n
ver,
The en - e - my
d>
: n .r
will
Lord.
d 1 :-
said,
will
take,
pur -
d. f. C. L is A.
*r .n : ba.se: 1 .t Id 1 .r 1 : n 1 .r 1 : d' .t
"Israel," p 103.
s : :
sue,
d'
50. KEY At>.
8 : f in
Lord ! lay | not
Transitional Modulation. Three Removes. "St. Paul," p. 21.
: - ,n |n
:r.l, t,
this sin to their
charge.
: s
Lord
f :n
Je - BUS !
II-
I i ceive
|n
: r
ceive my spi - rit !
fiP s d.f. C>. L is A).
.41:1.1 |l.t ;d'.d' i
And when he had said this hel
[Advanced Transitions.]
se :-.! il :
fell a -I sleep.
200
61. KEY B>. X is O.
But all the
II
II
C. t. m. L is A. " Creation," p. 40, 41.
woik
1 :
plete.
t| t d . sei
was not com
-plete, But
:t .t d'
all the work
: - .t :d' .sej
was not com-)
f. F. L is
There
D.
1 :
want
: n d
ed yet
:- .d :t, .1, *
that wondrous
: n
D. t. m. 1.
d : n
be
ing,
That grate - ful
should
God's
pow'r
62. KEY A!?. LiaF.
Id : n : se 11
works
The | works
r
thou
li :t,
of thine
d :1, :-
ad-
Haydn's " First Mass," p. 4.
F. t.m.l.
hands.
: r
thy
s
face
: f
from
us,
d' :t
Hide not
d 1
thou
Hide
:- :d'
:n I
not '
d'
thy face.
63. KEY F.
Re - I joice,
d
IV
Beethoven's " Mass in C," p. 40, 41.
|r :r
in the
n : - .n |n : n
Lord and mag - ni -
C. t.
xi*t : t |t .t: t .tid 1
} I fy him all ye gecd ofl !
ra-el,
:d' Id 1 rd'.d 1
How plen - ti-ful,
Lord,
thy
Si
II
B. d. f. E7. L ia C.
msi d i : 1 1 : - 1 1 : 1
good
: s
which thou hast laid
: n
up
|re : - .re
for them that
re :n
fear thec.
64. KEY E7.
:r |s : I :1,
Its voice to
: S| |IT_
row it
II
) I loud.
F. t. m.
:f |_J_n_ I : r d Id : t, |f
it - ' self not I feel - ing joy
[Advanced Transitions.]
Romberg's "Bell," p. 41.
j^J^_i | r :_d_
I shall
or pain, And)
20i
r .d : t ( .l| |n : n .n
<|r.d ;t|.l|
I with its
va - ry-ing
:d
:1,
notes
' va - rv - insrl snflnfl :
va - ry - ng scene
soi : | .n : se.n II : li
tend, On life's e'-vent - ful,
D. t. m. 1.
: | m ,S| : d .n
And as ita
s t-.rils^jvtilr^: ,d|s :-.n|l :-.slf .s : l.t
tones, which first so I clear, Soon fade, and! on the ear de -
d 1 :|:
cay.
II
Transitional Modulation. More difficult Rhythms.
65. KEY El?. " Acis and Galatea," p. 24.
Bt?. t. d.f. At?. L is F'
.t :d'
No show'rs
|- .r' :t .,t
to larks so
d 1 .s :
pleasing,
."ill .f :r .s
Not sunshine to the
bee, Not sleep
|- .t : se .,se
to toil so
1 .1
E?. t.
.tpi'lf .r 1 :t
As these dear smiles to
d'
56. KEY F.
: s Ife : f .f |n .f : s .1 |r :s
' They ' loa - thed, they loa-thcd to ' drink of
d. f. Si?. L is G.
d 1 .s :d'r' I- .d',t:di |- .ta :1 .se |1
ter in - to blood.
II
II
57. KEY B 7. L is G.
T : ti ,t| | sei : .se
Wretch-ed in - deed! But
sei.se,: li .t, |d
.li
"Israel," p. 16.
f :n .s |1 :1 .t
ri ver : He turn -ed their'
" Judas Maccabseus," p. 9.
HI
brace.
C. t. m. L is A.
| i,s : s .s
Dis - tractful
.f : 1 .s |n .n :
the cho-son na - tion,
let not Ju - dah's race Theirl ru-in with desponding arms em-'
d 1 : | .s :s .1 it .t : |t .r 1 : f j
doubt and deeper- 1 a - tion 111 be - come *
D . t. m. L is B.
.n II : .is |t : .s j
I I AM ! The Lord of !
in .n : n .ba| se
I Chosen by the Great
Hosts 1
:n .ba
who still the
in
same,
We trust,
.1 id'.l :1 .n |f :
will I give at- ten-tive ear.
[Advanced Transitions.]
202
SI
ill
58. XBT E>.
d : : d I tj .,r : s
Hal le - llu - jah.
M
Hal
le - llu
jah.
A*>. L is F. Haydn' t
ta,f, : - : f,
A - men,
. m. Z is A.
s if, : - i f.
A - men,
" First Mass," p
A - men,
H| .,861! t|
A - men.
69. IBT A. is F$. Beating thrice to the measure.
Singing great Jeho - rah's praise, The
f .n ;r .d |t t : 1| |
ho - lv choir em - ploy,
Jephtha," p. 49.
;- .l,[t| .1| : t, .del
f. D. L is B.
[|n.e: 1 .t Ise.ba; n.ba[se.l ; t .d'jr'.t ; n'.r'ld'.t ; d'.r 1 n 1 :1 |t ; l..se| 1 : {
The ho - ly choir em - ploy.
II '
'
iB^itnd'in :f In : is.,f:n.,r|d : ta 1 1 :-
Such as on our ao-lemn days, I Singing great Jehovah's praise.
60.
II
H
Q.
.d
The wa
.1,
" Israel," p. 100, 101.
A. t. m.
ten were ' gath - er - ed, the wa
.1| : t, .s, j
- ters were /
f. D. L is B.
d .,d :d .n |de 8 e.ba : se .n II .,1:1 .d |t| .t, :
gath - er - ed, the wa - ters were ' gath - er - ed to - geth-er.
61.
. t
,: . |1 . :r .8 In .r.d: d |- .r : t ( .,d Id
No show' rs to larks so 'pleasing, Not sun - shine to the ' bee,
jl
E>. t. L is C.
d .t,,l,:l
as - ing As these
t : se .,1
dear smiles to
[Advanced Transitions.]
" Acis and Galatea," p. 42.
d. f. A7.
: . r n If .r : ti .n
Not sleep to toil BO
: ti .n j
o toil BO i
203
62. XEY D>. Zis .BO.
n' :-
Thou,
Id 1 : 1 se.,1: t . | : 1 i se : t .t|d
Lord, art
Saydn's "First Mass," p. 21, 22.
God a-lone,
n 1 : I - : -
A
1, .t, :d .r,r,if :
e
n :
men,
aJ. - I migh - ty and e - ver -
if- 2 ; Y
n : 8 .f,n| r
ver. A
: - .r
Lord for
63. KEY F. L is D.
( In .r_ : d .t, : d ,t|.l| j f .n
| I Thou in thy I mer
O. t. m.
tn
: r
se : t
last - ing. A - men.)
B>. t. m. 1.
jit's : |n rd.dj
I O praise ye the)
|d .r :n .fe s
:f
men, I A
: - .n
"Israel in Egypt," p, 112.
r .de : r :
cy
r .r
: n .
f
'. ^r .d
ti
: - .r
: s, tt|
d .t|
:d
hast led
forth
thy peo
pie,
which thou
hast
f, .n,
:r, .
1
*l
: se, .t|
1,
:
: se,
1.
l
deem ...
.
ed.
s.d.f. B?.Zistf.
:- ,.,,j
- i
Transitional Modulation. More than three Removes.
64. KEY At?. "As the hart," p. 28.
f. DO
:d
From
r :1 |s :f
hence - forth and for
n :- - :
At?. t.Zis F.
d'
:- |- :t
1 :- 1-
: m'l
se
: n
11
:
...
...
....
il !
0. t. m. 1. r.
|t
65. XBY 0.
er -
mora.
:d>
for
It
I OT
er
n' :
more.
II
All our
n :
strong.
B .fe:f
cher - ish,
d 1 :n
art and
|f
toil
I
r
re
s.d.f. A?.
d
pay.
:
:d
r.s.d.f. A>. L'uF. " Song of the Bell," p. 22.
Should the mould be] wrong, Or the " gush " too)
:- .r |d
F. t. m.
|"s : - .f in
Ah ! perl-haps,
; r ,n
while joy we
:- .d id :., I
All our hopes and wish
es I per
ish.
[Advanced Transitions.1
204
66. KEY D. L is B.
id 1 :- .d 1 |d' .,d':di.d' Id 1 .,t ; 1
,- 1 All th'inhab-i - tantsofl Ca - naan
.t
shall
d'.l
" Israel," p. 121.
.se |1 : .t
melt
a - way,
shall'
melt
d<.l : .se 1 1
a - way,
s. d. f. Bt?,
: s |d'l :
the
f. G.
:d'g |-
by
great
.r 1 :
n 1 .de 1
r< :
- .d 1
t
:- .1
shall melt a - way,
shall
melt
a
!
I
). t. m. 1.
,r'| r 1
B.
t. m. 1.
r'f :
ness
of
Thy arm,
of
a - way ;
67. KEY C. L is A.
\\
Thy arm.
Hossiiti'y " Stabat Mater," p. 14.
1 .,t
: Q' .,t : i .,i
n .,a : i| :
a .,r : n
.,T : s .,1
n ,,r
:a :
For
His
peo - pie's
sin
He
suf -
fer'd,
1. r. s. d. f. Db.
1 .,t
:d' .,t:l .,f
n ,,re: n :
'n .,f : s
.,1 : s .,f
n .,r
:d :
His
own
pre - cious
life
Ho
of -
ferd.
68. KKY B?.
d :d
As at
:d d
Mer- i
:-.d:r n
- bah they did,
n
und
si* - :r
! des ert,
A!?, t. m.
:*t ( : r
Af - ter
f
for
" Come, let us sing," p. 23.
r. s. d. f. G?. L\&EJ.
: n | m se : - .1 : se.l i
at I Mas r sa in the)
f :-.f if :n.t|:d.r (
years grief at I this diso-bedient'
1.1
i]
II
II
d
race,
said:
de
bel,
: 1
I
said:
: :d.t,in :d : t|.l (
'Tis a I peo - pie that do
r :d :t,.f
err, and in their
n :-.d:l,
hearts re - bcl,
Bfr.t. m. Zis G.
n
: n 8 :
:f
Af
ter for
ty
.
f. At?. X is F.
jlfl.n f
:f
'Tis a peo
- pie
: s .s : f .n r
and that of my sta
:f :-.f
f. E7. L is C.
years grief
d
this
n .t\: de.r
dis-obcdicnt
:n
I
: n .r jde :
that do ' err,
t r ii t n
tutes I are still
[Advanced Transitions.]
Bb. t. m. X is (?.
:-f I- :f .f :n.r J
and in their hearts re -
un '-mind - fuL
NEW EDITION.
MINOR MODE PHRASES,
SELECTED FROM WELL-KNOWN COMPOSERS.
For the 6th requirement of the Intel-mediate Certificate, any one of Noa. 11 to 22, taken by lot must
be Sol-faad in correct tune and time. Two attempts allowed. The key may be changed when necessary.
No. 1. KEY Q. L is E.
li :l|.t, |d :r n
as un-daunt-ed
nl, :
|* I Still
II
SIR H. BISHOP. From " Tis when to sleep."
:f |ti :n 1 .1 :d |r :n II, : |
y a tan - gled ' brake,
n :- .r |d .r :d .t
pause to mark the
on we stray, Thro'
li td |ti :rii
si - lent way The
Wo \
li :ti |d :r in : -
cau - tious trav'1-lers I take.
No. 2. KEY
II
| . m m 1
Bump not the flask, thou
>. L is O.
t,
MENDELSSOHN. From the "Turkish Drinking Song."
d :1,.,1
churl-ish clown, On the' board as tho* you would
n
break
:- |d
it!
No. 3. KEY A. L is ft.
;n .r
d :1, it, :n,
Christmas - time, when
W. BOTD.
li :-.t, Id :d
frost is out, The
From a Part-Song.
|f :f
grow -ing
old,
:ni il| :- .ti |d :r
But I sure - ly, soon as
:f in
:r
A - pril comes, 'Twill
:se ( |1| : |
wake and bloom a - ' gain
No. 4. KEY C. L is A.
( Sweet
The
:n
|n
d 1 :
WELSH A.H.
It :t |1
ing, Makes' ev
From " The Dawn of Day."
It
bo
:1
1 :
glad,
|se
Spring a - gain re - | turn
n :f jr :n ,d :r
birds are sing - ing j from each spray, 'Tis' I a - lone am | sad.
PRICE ONI HALFPENNY. LONDON: J. CURWEN & SONS, 8 & 9, WARWICK LANE, E.G.
20.1
206
No. 6. KBT A. I is I
J. . THOMAS, from - There are good fish in the aoa."
l:n.r|d :d iti.li :t,.djl| : | :l|.tijd.t,:l,.ti |n, :se, 1 1, : i
' I ' f
i:n In.frn.f in :li In : | :n |n :r .d it, :n |1| : i
No. 6. KIT D|>. L\sB\>.
WILSH AIB. From "Of noble race was STienkin."
f From his
|8e.l:t.sel
d 1 :
cave in Snow-don's' moon-tains, Hath the
d .l,;r .t||n :n
pro - phet niin . strel
spo - ken ;
:1 .t Id'.n'rr'.d 1 It .r'rd'.t
f It o - mens great sue -
1 .d':t .1 |se :- .m, f .n :f .r in :ie
cess in war, Of I con - quest the sure i to ken.
No. 7. KBT 0. Li* A.
,:n il :n |f :n
i
I We I all must work, it
:n
H. LAHKR.
|f :n .r
From a Part-Song.
d 1 :- I-
, :n.r
/There's
d 1 :d id :d'.t
our lot. Each
:1 |1 .l.se
no - thing done, There's no - thing won, With-
one must take his
1 :l.se|l :l.se
out the earn - est
part, \
heart. "
No. 8. KBT A. Liaft.
, :n, d : it, :1,
} The sad leaves are
ti :-
dy
0. O. ALLBN.
- |n, :m
ing, the
Fn
n : |r :d
sweet birds have
am a Part-Song.
t, :- 1-
flown,
' O'er ev
|t| :d
f ry fair
ti :sei |n) :n.
i :- |r :d
iloom - ing and
t, :- i-
bright,
bios
som once
:t, n :
r The frost
|r :d
spi - rit
r :-
lays
- Id :li
her cold
1, I |1, !80,
fin gen to -
1 :- i-
night.
No. 9 KBT ]
i-.d.rm :sci
Jb.
li :ti.d |r
:d.t>
HANDBL.
d :r.n|f :n
.r n :r.d it, :1,
From "Judaa,"
n : I
sword.
f Where warlike
Ju - .
das
wields h
is right - - eous
( Minor Mode
No. 10. KBT F. LiaD.
J. R. THOMAS.
c:n
:n
|d :n.,n
'Mournl not for the owl, nor his
:n
Nor
<:se
n
:n.,n
lone - ly the bird, nor his
t| :m |1| : .,t|
gloomy plight; The
ghast-ly mate, They're
d :d ,,r in :n
owl hath his share of
207
From "The OwL'
i. = i ,
good;
d :n .,n |
each un-to each
:- r
n
pride,
|f
:n .n
^Thrice fond - er, perhaps, since a
r :d |f :- ,nl 1 :f .r in :n
strange dark fate Has' rent them from all be -
side.
No. 11. KBT Bb. L is O.
i :ni
' Veil'd
n,
by
HKNHT SMART. From " Good night, thou glorious sun."
:- .n, |ba ( :sei Hi
thy cloak of ' crim-son gold, Thy
d :n |r :1,
day's high du - ty
d :
done.
No. 12. KBT 0.
se :1 ise :n
On
thee a - lone our
P. LA THOHB.
in
:n
spi - rits stay, While
ba :se
From the Tune " Hereford,"
:t
held in life's on - e
:t |1
ven way.
No. 13. KBT D. Z is B.
:n
Or
lie,
:n
Iba :se
HANDEL.
1 :- I
heav'n, earth, seas and I sky
:t
In
:f
Ere
From "Jephtha."
d 1 :se |1 :t
one con - fa - sion
:r |d :ti 1|
a daugh - ter's ' blood
II
No. 14. KBT D. LisJB.
n :n |ba :se
HBNKT SHAUT.
From "The Lady of the Lea."
Cold, with - in the
:t id 1 :
grave lies she,
d :d !r :- .d
Sleep-ing peace - ful-
No. 15. KET D. L\B B.
:1 .t
:t
All in the
{.d :n .b
'Does my sweet
:se .1
downs the fleet was
se
:n .n
.t
William, Does my sweet
LBVKRIDGB.
n :- .f :n .r
moor'd, The streamers
d :n' '
Wil - liam
minor Mode Phrases.)
From "Black-eyed Susan, 1
:t, .1, :d .,
ing in the
wind,
: "<
in .,l:d' .t
.sell
Sail* mong your ' cre^P
IN
No. 16. KEY 0. Lis A. Hnonr SMART. From "Now May is her&"
rl.sell :t |se.ba:se.l|t :se in zl.iell :se 't :n Id 1 : |
L:l.sel
I I
No. 17. KBT A. L is Ft.
:li In : It. :se ( ini : | :m Iba: :i
From the same.
:t
No. 18. KBY C. L is A.
In :n |ba :n Iba :se
Un :
HAYDN. From "Achieved is the glorious work."
:se |1 it If : |n : |
j| 1 :t id 1 :d' 1 :t lie : ]ie :se |1
No. 19. KBT C. LuA.
{
in
HANDEL.
in
From "Esther."
:n lae :n II :
For ' ev - er ' bless
No. 20. KEY B
ie :n iba :se 11 : ,se :1 it :se id 1 : It
od, For I ev - er I bless - | ed, For I ev - er I bless
ed.
H d *
S|n, :se.
baj :se, |1 (
d :ti it,
J. L. HATTON. From "Jack Frost"
d :r iti :sei | li :ti |sei : I
111 :d
:ie ( Hi :
H
No. 21. KBT 0. LuA.
n :ba m :ba lie :1
G. A. MACFARRBX.
t :d' |t :d'
From "The Three Fishers.
|r' :t II :- i :
No. 22. KBT Eb> is ?. HANDBL. Phrases from " Israel in Egypt"
e II :n iba :se 1 :f |n : II : I :se ba :se |1
:se ll.ttd'.l se : In :- I :d' 11 :se in n Iba -ba lie
(:se ll.tt
(:M 11 : : :n Ise :ba |n :ba se :1 t Id 1 :1 . se :
(Minor Mode Phrases.)
FIRST EXERCISES FOR MIXED VOICES.
TO BE USED AS AN INTRODUCTION TO "ADDITIONAL EXERCISES."
Ex. 1. KEY D.
d : n :
FIRST STEP.
;- d' :- d 1 :-
In : Id :
Ex. 2. KEY E'p. f (Sopr. and Bass.)
:s
:d
n :d s
d :d d
:n
Ex. 3. KEY C. f
d :n s :n d :
d : : d :n
s :n
:s
:d
n
d
t
d :n
:- d :d
t
s
:s
:s Id :-
d
Ex. 4. KEY F.
n :d
In :d
d :n
Ex. 5. KEY G.
d :s, :d
:d
:n
:d
:n
:s
:s
_ t
Ex. 6. KEY F.
d.s,:d
n .d :n
:n
id
:d
d :-
n .d :n
n
si :
s .n :s
s :n
n .d :n
d :
Ex. 7. KEY G.
Si :si
!l. Swell the
s, :s,
n :n
!2.Hark! the
id :d
SECOND STEP.
SWELL THE ANTHEM.
d
an
l
n
voice
d
:d
them, f
:n
of
:d
na
d
:d
the
:d
:n
ture
:d
s
song;
t,
r
sings,
S|
d
Praia
d
n
Prais
d
A.L.C.
:n
es f
:d
68 f
:d
LONDON: J. CURWEN & SONS, 8 & 9, WARWICK LANE, E.G. PIUCE Id.
8t. Co. (New).
210
FIRST EXERCISES.
r :d
t, :d
r
:
8|
:s.
d
.d
to our
God be
-
long;
Saints and
an - gels T
si :BI
8, JPV
S|
;
l
:BI
l
8|
8 :n
r :d
t,
:
n
:n
n
:n
to the
King of
Kings!
Let
us
join f the
t, :d
Si :BI
Si
!
d
:d
d
:d
n :d
r :
s :s
8 !PI
r :r
d :-
join to
sing
Praia - esf
to the
heav'n -ly
King.
d :d
t :
t| lt|
d :d
d :,
d :-
s :n
t i
r :r
n :s
s :s
n :
chor - al
song,
And the
grate - f ul
notes f pro -
long.
d :d
8 ( :
i :>i
d :d
sj :s,
d, :-
SWEET SUMMER-TIME.
Ex. 8. KKY G.
A.L.C.
8 .n :n
d 1 .8 :s
t .d 1
:ri .t
d' .r 1 :n
8
.PI IPI
1. Summer-time,
Summer- time,
Mer-ry,
mer-ry
Summer- time ;
Gai-ly fling,
n .d :d
PI .Pi :n
s .n
:s .8
s .8 :s
n
.d :d
2. Summer-time,
Summer- time,
Mer-ry,
mer-ry
Summer- time ;
nga - gain,
d 1 .8 :s
8 .d 1 :d'
r' .d'
:t .r 1
"n 1 *.
r 1 :d'
d
.8 :s
3. Summer-time,
Summer- time,
Mer-ry,
mer-ry
Summer- time ;
Sing a - gain,
d .d :d
d .d :d
8 .8
:s .8
d .d :d
d
.d :d
d 1 .8 :s
PI' .n 1 :n'
. r i
d 1
:
tr 1 t c
. 1 .V .0
d
.n 1 :s
gai- ly sing,
'Tia sweet Summer-
time.
Brightly now the
sun's gay beam,
n .n :n
s .B :s
.8
n
:
s .8 :s .s
8
.s :s
sing a - gain,
'Tia sweet Summer-
time.
Sweetly scent-ed
is
the air,
s .d 1 :d'
d' .d 1 :d
.t
d 1
:
r 1 .
t :r' .t
d
.d 1 :t
sing a - gain,
'Tis sweet Summer-
time.
Now the birds on
er - 'ry tree,
d .d :d
d .n :s
.8
d
j~ ~
I .
B :* .s
n
.d :s
t .r 1 :t .8
d .n 1 :s
8 .PI :PI
d 1 .8 :s
n 1 .n 1 :n' .r 1
d' :- :
Glances o'er the
crys-tal stream,
Summer- time,
Summer- time,
'Tis sweet Summer
-time.
8 .8 18 .8
8 .s :s
n .d :d
PI .n :n
s .s :s .8
n :
RpHUteoui flow'n bloom
r' .t :r' .t
er - 'ry - where,
d 1 .d 1 :t
Summer- time,
d 1 .s :s
Summer- time,
8 .d 1 :d
'Tis sweet Summer
d 1 .d 1 :d' -t
-time.
d 1 :
Warble their sweet
mri - o - dy.
Summer -time,
Summer- time,
'Tis sweet Summer
-time.
8 .8 :s .s
n .d :s
d .d :d
d .d :d
d .n :s .s
d :
In marking the Teno; Registers (as p. 68), study the optional tones (pp. 32, 110), the phrasing
St Co (New) (PP' *^ 7 ^) ^^ ^ e nee< ^ ' or P^o or forte in each case.
FIRST EXERClSKb.
211
MUSIC IN THE VALLEY.
Ex. 9. KBT Ab-
A.L.O.
d :
8,
Id
:r
n :
|r :
d
:s
Id
:r
n :
1. Mu-
sic
in
the
val
ley,
Mu
- sic
on
the
hill,
Si :
s,
is.
:si
si :
is, :
Hi
:n (
IS,
:si
si :
2. Mu- sic
n :n
by
|n
the
:r
fire
d :-
side,
It. :-
Mu
d
- sic
:d
in
Id
the
hall,
d :
3. Sing
d :
with
d
joy
Id
f ul
:d
voi
d :-
ces,
is, :
Friends and lov'd
ones
;s.
dear ;
d :
r :
r
|r
:s
n :
Id :-
t|
:d
|r
:t,
d :
Mu -
t, :
sic
t.
in
It,
the
wood
d :
land,
is, :
Mu
S|
- sic
:mi
in
IS,
the
rill;
s, :
Mu -
s :
sic
S
in
Is
the
:s
school
S '.
room,
in" :
Mu
r
- sic
:d
for
It,
us
:r
all;
n :
Dis -
cord
8|
and
vex-
a
d :-
tion,
Id :-
Ne'er shall
s, :s.
en -
ter
here,
d, :
s :
n
Id
:n
s :
in :
r
:t,
IS,
it,
r :
Mu -
d :
sic
d
on
id
the
:d
moun
d :-
tain,
is, :
Mu
S|
- sic
in
the
air,
s, :
Mu -
n :
sic
S
in
in
our
:s
spr
pf :
row,
Id :-
Mu
ti
- sic
:r
in
It,
our
:r
care,
t, :
Join
d :
the
d
hap
Id
- py
:d
cho
d :
rus
Id :-
Of
8,
all
na -
Is,
ture
fair,
si :
d :
8,
Id
:r
n :
id :-
t,
:d
|r :
t,
d :
Mu -
sic
n.
in
IS,
the
true
s, :
heart,
is, :-
Mu
l
- sio
ev -
'ry-
where.
n, :
Mu -
d :
sic
d
in
Id
our
f*:-
ness,
|n :
Mu
r
- sic
:d
ev -
It, :
r
where.
d :-
Swell
d, :
the
d.
glo
- nous
an
d :-
them,
Id :-
Mu
81
- sic's
ev -
|si :
'ry-
where.
d, :-
St. Co. (NewJ
212
I IK8T EXERCISES.
HIGHEB, HIGHER "WILL WE CLIMB.
Ex. 10. KEY D.
A.L
s :s |d' :cl
n 1 :-.r'|d< :
s :n |s :d'
d 1 :t j :
l.Higher, high - er t
n :n 'n ;n
will we climb f
s :- .s |n :
Up the mount of
n :d |n :n
glo - ry,
n :r | :
2. On - ward, on - wardf
d 1 :d' Is :s
may we press f
d 1 :-.t|d' :-
Through the path of
d 1 :s d :s
du - ty;
s :s | :
3.Clos-er, clos - er, f
d :d id :d
let us knit t
d :s |d :
Hearts and hands to -
d :- .d id :n
ge - ther,
s :s |
8 :s |d :d'
n 1 :- .r'|d' ;
s :n |s :d'
d 1 :t | :
That our names f may
n :n |n :n
live thro' time, f
s :- .s in :
In our coun - try's
n :d |n :n
sto - ry ;
n :r | :
Vir - tue is true
d 1 :d' is :s
hnp - pi -ness, t
d 1 :- .t |d' :
Ex - eel - lenco, true
d 1 :s |d' :s
beau - ty :
s :s | :
Where our fire - side -
d :d |d :d
com - forts sit, f
d :s, |d :
In the wild - est
d :- .d |d :n
wca - ther ;
s :s | :
r :-.n|r :r
r :- .n |s :
s :- .n |s .'d 1
d 1 --.t|t
Hap - py,fwhen her
t, :d is, :t.
wel - fare calls,
t, :d |r :
He who conquers,!
n :- .d |n :n
he who falls.
n :- .r |r :
Minds are of ce -
s :- .8 |s :s
lea - tial birth,
8 :- .s is :
Make we then fa
d 1 :-.d'|d' is
heav'n of earth,
s :- .s Is :
O, they wan - der
s, .'d it- :s
widefwho roam
8| :d |t| :
For thnjoys of
d :- .d d :n
life f from homo,
s :- .s |s :
d 1 :s |n :d
d 1 :- id 1 :d'
d' :t m 1 :r'
d' :- 1- :
I.He who con - quers,
2. Make we then a
3. For the joys of
d :s |n :d
he who
heav'n, make we
life, for the
n : in :n
con - quors, he who
then a heav'n of
joys of life from
n :r |s :s
falls,
earth,
home.
n :- |- :
: 1 :
d 1 :s m :d
s :- Id 1 :t
d 1 :- |- :
I.He who con - quers,
2. Make we then a
he who
heav'n of
falls,
earth.
: 1 :
3. For the joys of
d 1 :s in :d
life from
8 : 'Si :
home.
d :- |- :
St. Co.
Ex. 11. KBV Ap.
/ BI :d :ti
d :- .r :n
s :n :d
r : : \
l.I'm but a
stran - ger here,
Heaven is my
home;
S| :si :s.
S| t- .S| :BI
8| :Pl| :d
si : :
2. What though the
tempests rage ?
Heaven ia my
home ;
n :n :r
d :- .t, :d
s :n :d
ti :- :-
3. There at my
Sav - iour's side,
Heaven is my
home ;
d :d :s.
HI :- .81 :d|
s, in, :d|
Si : :
4.There-fore I
mur - mur not,
Heaven is my
home ; ,
s, :d :ti
d :- .r :n
s :n :d
8| J :
Earth is a
de - sert drear,
Heaven is my
home,
ri, :si :si
S| :- .8) :S|
s :n :d
s, : :
Short is my
Sil - grimage,
Heaven is my
home ;
d :n :r
:- .t, :d
s :n :d
s, : :
I shall be
glo - li - fied,
Heaven is my
homn;
d :d is\
pi :- .S| :d|
S| in\ .'d
s, : :
What - e'er my
earth - ly lot,
Heaven is my
home ;
d :d :d
t, :- .d :r
r :r :r
d :- .r :n \
Dan - ger and
sor - row stand
Round me on
ev - 'ry hand ;
Si :s, :si
si :- .HI :si
t| lt| !t|
d :- .t, :d
And time's wild
win - try blast
Soon will be
o - ver- past :
n in in
r :- .d :t,
s" :s :s
n :- .r :d
There are the
good and blest,
Those I loved
most and best ;
d :d :d
Si :- .8) :si
S| tS| :S|
d ;- .S| :d
And I shall
sure - ly stand
There at my
Lord's right hand ; /
s .n :d
r :- .n :r
d :n :r
d :- :
Heaven is my
Fa - ther-land,
Heaven is my
home.
d :d :d
t| :- .d :si
HI :si is.
HI : :
I shall reach
home at last,
Heaven is my
home.
n :s :n
r :- .d :t r
d :d :t,
d :- :-
And there I,
too, shall rest,
Heaven is my
home.
d :d :d
S| :- .S| :S|
d i S| *S|
d, :- :-
Heaven is my
Fa - ther-land,
Heaven ia my
home.
St. Co. (New.)
214
Ex. 12. KKT F.
FIRST EXERCISES.
SWEETEST, FAIBEST.
A.L.C.
;
\ :
',
1 :
s :
|n
:s
r r :
I. Sweet
- est, fair - est,
fbest
of pla - ces, Is
home,
sweet
home;
d :-
.r |d :s.
n :-
.r |r :d .d
d :
- Id
:
t, :- - :
1 :
:
1 :
n :
- 18
:
s :- |- .:
2.There
the dear ones
fwait
to meet me, At
home.
sweet
home;
1
1 :
:
1 :
d :
- Id
:n
8 *^ | "~" *
:
1 :
1 :
n :
m
:r
d :- |- :
There
are dear ffa
mi
liar fa - ces, At
home,
sweet
home;
d :-
.r |n :r
d :-
.t; id :S| ,s
d :
- Id
:t,
d : | :
:
1 :
:
1 :
s :
|8
:
n : | :
Tried
and true hearts
flong
to greet me, At
home,
sweet
home;
S
1 : :
1 :
d :
is.
'
d :- | :
r :-
.r |r :d
t. :-
.d |r :--
n
- .n in
:r
d :- .r |n :
Oth -
er skies fas
clear
may be,
Oth
- er landsfas
fair to see,
81 :-
.s, |s, :s,
81 :-
HI Is, :
81 :
- .8, |8|
:t,
d :- .d |d :
t, :-
.t, 1 1, :d
r :-
.d |t, :
d :
-.d |d
:r
n :- .8 |s :
Friend
ship's handfl
oft
have press* d,
Hap
- py though tsfoft
fill my breast,
s, :-
.8, |s, :n :
81 :-
.8, IS, :
d :
-.d |d
:8,
d :- .d id :
8
:- .n |d' :n :
n :- .r |r
:d
s : |n :s
None
can be f so
dear to me
tAfl
home, sweet
d
:- .d |n :d
d :- .t, it,
:d
d : Id :-
' n
:- .s |s :s
:- .8 s
:n
n : |8 :
Yet
I long fa
gain to rest
tAt
home, sweet
d
:- .d |d :d
81 :- .8, |s.
:d
d : id :n
t r
: | ;
n : in
:r
d :- |- :
home,
Home, sweet
home.
, *'
: 1 :
d :- |d
:ti
d :- 1- :
: 1 :
8 : |8
:
n : | :
home,
Home, sweet
homo.
\ 8
: 1
d :- 8,
:
d :- i- :
St.
Co. fjfetoj.
FIRST EXERCISES.
215
MAY IS COMING.
Ex. 13. KEY G.
A.L.C.
d :d :d
ir :- :r
PI :- :- |r :- :-
d :d :d |t
:- :d
1. Coming thro' clouds t and
dark - ness,
Com-ing thro' sleet t and
d :d :d
It, :- :t,
d :- :- |t, :- :-
S| :S| :s, |s
:- .n,
n :n ;PI
is :- :s
s :- :- is :- :-
n :n '.n Ir
:- :d
2. Coming fa
d :d :d
morn of
is, :- :s,
Slo ry,
:- :- Is, :- :-
Com-ing f a day of
d :d :d |s, :- :s.
r :- :-
1- :- :
si :t, :r |s :- :PI
n :- :- |r
;_ ;_
rain,
Beau-ti - ful month of
flow - ere,
s, :- :-
1- '- '
S| :si :si jS| :- :d
d :- :- |t,
:- :-
t, :- :-
I- :- :
s, :t, :r |s :- :s
s :- :- |s
:- :-
rest,
Faith sees its gold en
pro - raise
1 s, :- :-
1- :- :
s, :si :S| |s, t- :d s :- :- is.
_ _ *
d :d :d
|n :- :r
d :- :- |- :- :
r :r :r |r
:- :d v
Hast'ning to
us a -
gain;
Thought of the win - try
d :d :d
Id :- :t,
d :- :- h :- :
t, :t, :ti |t.
:- :d '
n tn ;PI
is :- :s
PI :- :- |- :- :
: : 1
' '
Break thro' the cloud - ed
dj . j
west;
Star of the dark - est
:d :d
|S| :- :si a| :-:-|-:-: : : i
I
t, :- :-
1- :- : n :n :n |PI :- :r d :- :- - :- :
s :s :s
hour
Cheer of the dark - est day
Comingjftho'
s, :- :-
- :- : d :d :d |d :- :t| d :- :- - :- :
PI IP! :P1
: ;
1 : : : : : : : : : :
s :s :s
hour,
Beaming with death - less ray
Coming,ttho'
' '
I : : : : : : : : : :
d :d :d
|s :- :n
PI :- :- |r :- :- d :d :d |p> :- :r d :- :-
- ;- ;
tern - pests
low - er, Beauti - ful month of May.
|n :- :d
d :- :- |t ( :- :- d :d :d |d :- :t| d :- :-
:- :
|s :- :s
s :- :- |s :- :- PI :n :n is :- :s n :- :-
- :- :
tern - pests
low - er, Blessed e - ter - nal May.
Id :- :d
S) :- '- Is, :- :- d :d :d |s, :- :s, d, :- :-
St. Co. fNew).
21G
FIRST EXERCISES.
THIRD STEP. *
Ex. 14. KEY F. BllAILSFORD.
Ex. 15.
KEY A. NARKS.
/C\
/ n
n :f
s :-
s
f :n
r :r
n -
/TV
n
f :r
ti -
d
1, :f
n :r
d -
L
1 d
i
d :d
t, :-
d
t, :d
d :t,
d
-
Si
li :1
S| -
l
f. :1.
s, :f|
n, -
8
s :d
r :-
n
f :s
1 :s
8
-
d
d :f
r -
d
d :d
d :t.
d -
d
d :1,
s, :-
n
r :d
f. :n
d -
d
l.:f,
8| -
n, f,:r,
si :s,
d, -
EX. 16. KEY G. GttEOOlUAN.
Ex. 17. KE - G. J.S S.
<f
n :r
d :-
r
n :f
n :r
d -
/r\
n
f :n
1 -
?
n :r
d :t,
d -
8|
d :t,
1.:-
t.
d :d
d :ti
d -
d
r :d
d -
1
si :fi
HI :f.
HI -
n
s :f
n :-
8
s :1
s :7
n -
s
s :s
f -
d
d :t,
d :r
d -
d
d :s
1, :-
S|
d :f s
81 :s.
d, -
d
t, :d
fi -
f
si :BI
s, :si
d -
FOURTH STEP.f
Ex. 18. KEY F.
E. J. HOPKINS.
S
n :1
s :-
S
d :n
r :d
d :t
8
n :1
s :-
s
d :n
r :r
d :-
d
d :d
d :-
t,
d :d
li :BI
si :-
t,
d :d
t :-
d
1, :d
d :t,
d :-
n
s :f
n :-
r
d :s
f :n
n :r
S
8 :fe
s :-
s
n :s
1 :s.f
n :-
d
d :f,
d :-
8|
1, :n.
f, :d
s, :-
Hi
1 :r,
si :-
n,
1, :n
I ; S |
d :-
Ex. 19. KEY Eb-
Bb-t.
G.O.
f.Eb-
n
1 :s
f :-
d
1, :t
d :r
^
n :- ]
r
d :t,
d :-
1,11
1 :s
f :r
d :-
d
r :n
d :-
rs
1, :f
S ' 8|
s, :-
s
8| <S|
si :-
f ,d
r :n
d :t.
d :-
8
\ d
f :n
t :d
f :-
1. :-
A
d :r
f ' r
d :t
HI :s.
d :-
d :-
t
d :r
HI '.T\
n :-
d :-
U
f :n
t :d
1 :s.f
f :si
n :-
d :-
Ex. 20. KEY F. DR. Cmrr.
Ex. 21. KEY G. G.O.
At
n :r
d :-
T
s :f
n :r
d :-
n
r :r
R :-
n
f :s
r :r
d :-
I
J
d :t
1.:-
d
d :d
d :t,
d :-
d
t, :t
d :-
d
d :d
d :t,
d :-
n
B :f
n :-
f
ta:l
s :f
n :-
1 '
8 :s
s :-
8
d :d
f :r
n :-
d
d .8,
1.:-
f,
n, :f,
s :s
d :-
( d
s,:f
n, :-
ta
l,:n,
f,:s,
d :-
St. Co. (New.)
* To be introduced before page 1 of "Additional Exercises."
t To be introduced before page 12 of " Additional Exercises."
ADDITIONAL EXERCISES, PART I.
NOTE. In teaching to sing, these exercises should be preceded by at least a selection from the
Exercises of the 1st, 2nd, and 3rd steps in " Standard Course," or by the " First Exercises for Mixed
Voices." And before the Ex. on p. 12 is commenced, either the St. Co. Ex. of the Fourth Step, or those
on the last page of " First Exercises," &c., should be introduced. For style of singing see " Hints on
the Tunes."
Words by GOD SPEED THE BIGHT. Music from the
W. E. Hickson. By permission. German.
KEY D. M. 66.
s : s |d' : -.s
n : n | s n
PI : |r : - .r
n : |
l.Now to heav'n our
pray'rsas - cend ing,
God speed the
right !
s : s |d' : - .s
n : n | s n
d : |t| :-.t,
d :- T :
2. Be that pray'r a-
gain re - peat ed,
God speed the
right !
s :s |d' :-.s
PI : n | s n
s : |s : - .s
s ;- |
3.Pa - tient, firm, and
per - se - ver - ing,
God speed the
right!
s : s |d' : - .s
n : n | s : n
d : |si : - .81
d :- | :
\ 4. Still their on - ward
course pur - su - ing,
God speed the
right!
s : s Id 1 : - .s
n : PI | s : n
PI : | r : - .r
PI :- | :
In a no ble
cause con - tend - ing,
God speed the
right!
s : s |d' : - .s
n : n | s : PI
d : |t ( :-.t.
d :- | :
Ne'er des - pair - ing,
though de - feat ed,
God speed the
right !
s : s |d' : - .s
n : n [ s : PI
s : | s : - .s
s :- | :
Ne'er th'e - vent nor
dan - ger fear - ing,
God speed the
right!
s : s Id 1 : - .s
PI : n | s : PI
d : |si : - .8)
d :- | :
Ev - 'ry foe at
length sub - du - ing,
God speed the
right !
d' :t |1 :s
1 :s |f :PI
r : n | f : r
s : f |n : r
Be their zeal in
heav'n re - cord - ed,
With sue - cess on
earth re - ward-ed,
n : s |f : n
f :PJ |r :d
ti : d j r : ti
PI : r |d : t|
Like the good and
great in sto - ry
If they fail, they
fail with glo - ry,
d' :d' Id 1 :d>
d 1 :d> |s :s
s : s |s : s
s : s | s : s
Pains, nor toils nor
tri - als heed - ing,
And in heav'n' s own
time sue - ceed - ing,
d :d Id :d
d :d |d :d
si : si |si : S|
si : si | s : f
\ Truth ! thy cause, what -
e'er de - lay it,
There's no pow'r on
earth can stay it,
d 1 :- |r' :-.r
n' :- I- :
s : | s : - .s
d :- |- :
God speed the
right!
God speed the
right !
d : | s : - .s
S ! | :
s : |s : - .s
d :- 1- :
God speed the
right!
God speed the
right!
s : It :-.t
d 1 : |- :
s : | s : - .s
d :- |- :
God speed the
right !
God speed the
right!
n : |r : - .r
d :- |- :
s : I s : - .s
d :- I- :
God speed the
right!
God speed the
right !
LONDON : J. CURWEN & SONS, 8 & 9, WARWICK LANB, B.C. In three parts, 4d. each
218
ADDITIONAL EXEKCISE8. PAHT I.
GOING HOME.
KEY F. M. 88. GW-**.
:d
n : s
d 1 : - .f n : r
s :- .d
r : n
l.How many a
pang, How many an
ill, How many a
: S|
d : r
d :- .d
d : t.
d :-.d t, :d
2. He bears us,
as in win - try
storms, When winds are
: n
s : r
n : - .f s : s
s : - .s s : s
3. Be God our
guide, whate'er be -
tide, And when our
: d d : t,
li : - .li i : fi
HI : - .HI
si : d
f ,,s : n .,f | r :
: s
t .1 : 1 .s
s :1 .t Id 1 :- .t
harm - ful snare
Might sore - ly
plague, and bruise, and
r : d t, :
:t.
r .d :d .t,
t| : d .r |d .n : s .f
rav - ing wild,
A faith - ful
ten - der fa - ther
s : s
s :
s :
s : s
8 : s
s : - .s
time shall come,
For us pro -
vide in man - sions
t, :d
s, :
s :
s : s
s : s .f
n : - .r
1
d 1 .t : 1 .8
1 .8 :f .n
n :
r :- d :-
:
kill, Were God not
with us
there.
n .8 : f .n
f .n : r .d
d : t, :
d :-
warms His lit - tie
dar - - ling
child.
s :- .d |d :d
:
s :- .f
n :
:
wide, An ev - er -
last - - ing
Home.
d :- .d |d :d
s, :
s, :
d :-
:
KBY Et>. M. 72. JACKSON'S EVENING HYMN. W, Jackson.
n : : n
f : - :n
n : r : d
t, :d :
f : in
r : : n
l.Fa - ther,
in high
hea - ven
dwell-ing,
May our
eve - ning
d :- :d
r :- :d
1. :- :li
s, : s, :
d :r :d
t t : : d
2. This day's
sins,
rdon,
Sa - vieur,
K - vil
thoughts, per -
s : : s
8 : : s
:- :
t in i
I :s : s
s : : s
3.From en -
tice - ments
of the
De - vil.
From the
might of
d : :d
t, : : d
f, : - : f .
s, : d :
1, :t| :d
f :- :n
\ 4. Whilst the
night - dews
are dis-
till - ing,
Ho - ly
Ghost, each
/ 8 : f :n
n : r : .
ci 1 : f : 1
s :d :f
n : : r
d : :-
song be
tell - ing
Of thy
mer - cy
large and
free.
8, : : a.
8| : s :
f : :d
d : - :d
d : : t,
d :- :-
verse be -
F : - : d 1
ha - viour,
d 1 :t :
En - vy,
d 1 : - : d*
pride, and
f :- :1
van - i -
s : :f
ty;
n : :
spi rits
e - vil,
Be our
shield and
pan - o -
pty;
r : :d
81 : BI :
1 :- :f
n :- :f
s : : 8 t
d :- :-
\ heart be
fill - ing,
With thine
own se -
ren - i -
tv;
St. Co. (New.)
'
ADDITIONAL EXERCISES. PART I.
219
p
r : : r
Through the
ti : :t,
From the
s : : s
Let thy
6 ( : : si
\ Soft - ly
n : : s
day thy
d : :d
world, the
s : : d 1
pow'r this
d : : n
will the
1 : s : i'i
love hath
d :- :d
flesh, de -
d' : - : T
night de -
f :n :d
eyes be
s : f : n
fed us,
r :- :d
liv - er,
s : : s
fend us,
t, : : d
clos - ing,
r : - :f
Through the
d : t ( : r
n : : s \
day thy
r :d :d
Save us
s : : s
And a
s, : : s,
While on
now, and
s : : s
heav'n - ly
d : : n
thee the
1 : s
:d'
t :l
: s
f :
care
hath
led
us,
With
d :-
: n
f :
:d
ti :
save
us
ev
er
o
f :d'
:d'
d" :-
:d'
s :
peace
at -
tend
us,
And
f in
:d
f :-
: n
r :
\ soul
re -
pos
ing,
Ev
n
ri : r
:f
n :
di -
vin
est
cha
d
li :-
: r
d :
thou
Lamb
of
Cal
S
s :f
: I
s :
an -
d
gel
.
ic
: r.
com
s, :
er
bless
ed
Trin
pa -
d :- :-
ty-
d : - :
ry!
n : :
d ny< :-:-
ty.
SPUING LIFE.
(Words translated from E. M. ARNDT, by J. S. STALLYBRASS.)
KEY D. M. 144.
:
:
S |d'
l.Hur
-rah!
Hur -rah!
s |n
2. Hur-
: s
rah!
d 1 :
Hur - rah !
8 i S
3. Hur
: s
-rah!
PI :
Hur -rah!
8 |d
4. Hur
-rah!
Hur -rah!
f .s:f .n|
r :
ti - ny
r .n : r .d
leaves,
ti :-
hill and
:
dale,
days are
: 1
long,
kg be -
hind,
n .s : f.l | s :
n .s : f.l |s : n
Gersbach.
d 1 : t |1 : s \
Flow - ret fair,
d .n : r.f In :
Bloom and be fragrant;
d .n : r.f |n : d
Put forth all thy
1 :s |f :rt ,
Brook - let clear,
: 1 :
Bird - ie dear,
: 1 :
Heart of Man,
Mur-mur, thou youngster ;
Warble, thou songster;
: 1 :
Leap up and worship ;
Slant- ing down thro'
Woods are leaf - y,
What, thou would'st not/
s : - .t |t : s
Clam - ber up my
s : - .r |r : t (
Bid - ding all my
: I :
Flow' rs are nod ding
When all else are
t.d':t.l|s :-
cot - tage eaves,
r ,n : r .d 1 1| :,
loved ones hail,
: I :
to thy song,
glad of mind P
t :-.d'|r' :d'
Clam - ber up my
s : - .n| f : n
Bid - ding all my
: I :
Flow' rs are nod - ding
s : s |s : s
When all else are /
St. Ci. (New.J
220
ADDITIONAL EXERCISES. PART I.
t .1 : s .fm :
:
:i
d' :-
t
:-.r'
d 1 :-!-;
cot - tage eaves. Hur-
r .f : n .r |d :
rah!
Hur-
1 :s
rah ! Grow a-
n :- |r :-.f
way !
n :- |- :
loved ones hail. Hnr-
: | :s
to thy song. Hur-
s : s |s : s
rah!
d 1 :-
rah!
n : -
Hur-
- |- :s
Hur-
- I- :s
rah!
s :
rah!
d :-
Slant a-
s : - .s
Chant a-
Si : - .s
way !
s :- 1- : 1
way !
d :- I- :
glad of mind. A -
way!
A -
way ! Praise and
pray ! /
8 :- I- :-
n : -
- 1 :
f :-
:
n :- | :
Flow
n : 1 :
ret,
d :-
- 1 :
bios
t, :-
:
som!
d :- | :
Brook ...
: 1 :
let,
1 :
mur
s :
;
mer !
8 :- |
Song ...
ster,
1 :
war
s :
;
ble!
d :- | :
Take
part,
my
heart!
THE FORTUNE HUNTER.
(Words translated from EUCKERT, by J. S. STALLYHUASS.)
KEY F. M. 60, twice. Oet-sbach.
: si |s, : 1, : ti
1. I'd of - ten been
: 8, | si : li : ti
3. With clat - ter and
: 81 Is, : I, : t,
7. I'll give up, me -
: si |s, : li : ti
8. I spied a green
9. By la - bour and
d :-
told
d :-
noise,
d :-
:d.d|r
-.d:r
was a
- .1|! 8,
tions did
: - .s : s
- ter this
:-.l ( :t,
est so
and per
S
n :d :r |n :n :f \
ro ver; I thought I'd make
d :d :t, |d :d :d
throng them, Men, wo - men and
8 : n : s | s : s : s
bub - ble ; Who knows that when
d : d : s/ |d : d : r
sha - dy, To build me a
sis - tence, My house I have/
^^
That luck
:d.d|t,
Whole na
: n .n| s
thought, Running af
d : - : d .d| s.
spot In the for
thought, By skill
/ s : - : n.n|r : - : n.r
d :d :
1 :- :d'.l
s : - : n.s |f : -.s: f
bold Her haunts todis
d :- :d.d|t| :- : M,
-cov - er.
d :d :
La, la,
f :- :l.f
la, la, la, la, la,
n : - : d.n| r : - : ti
boys, But no Luck was a
s : - : s . s | s : - : s .f
-mong them ! La, la,
n :n : |d' :- : d 1
la, la, l.i, la,
d 1 :- : s |t :- : s
caught She will pay for the
n : - : d.d| s\ : - : S|.s,
trou - ble ? La, la,
d :d : |d :- :d
la, la, la, la,
d : - : n |s : - : si
cot Without ask - ing my
wrought, Without For-tune's as
La - dy. La, la,
-sis tance. La, la,
la, la, la, la,
la, la, la, la,
St. Co. (New.)
ADDITIONAL EXERCISES. PART I.
221
FINE.
in :d :d .f : - : d 1
la, la, la, la,
d :- : if :- : 1*
d'.t : l.s: f.nlr :- :s
la, la, la, la, la,
n : - : d | ti : - : t t
A' IKi E.
d :-
la!
d :-
Si I s : 1| : t> \
2.1 left my own
si | S| : If : ti
la, _. la, la,
s :- :n 1 1 : - :f.l
la, la, la, la,
s :- :s |f :- :f
la!
n : -
4.1 ask'd of those
s, |s : I, : ti
la, la, la, la,
d :- : 1 :d :d
la, la, la, la,
d : - : | S| : - : S|
la!
d :-
5. At one place I
S| | S| : 1| : t|
, la, la, la,
la, la, la,
la, la, la,
la, la, la,
la!
la!
6.Atagreat ci - ty's
lO.Here. Luck, is my
d :-.t,:d |r :d :r
n : - : r | n : n : f
s :-.f : PI | r : n : r
D.S.
d :- :-
gate - way, And wander 'd a -
d i -.S| : S| | ti ! 1| ; S|
broad, Went this way and
Si : - : t| | d : d : d
that way, And tried ev'ry
d :-.t,: d 1 1| : t ( : t|
road.
d :- :-
near me, Where was the shy
d : -.r : PI 1 s : s : s
elf ; But none seem'd to
s : - : s | s : s : s
hear me, Each sought for him
s :-.s : s | s : s : f
-self.
PI : - : -
ask'd them If For -tune was
d :-.d : d j s. : 1, : t.
near; They said she had
d : - : si | d : d : r
past them Full ma-ny a
n :-.r : d | s, : s, : s.
year.
d : - : -
\ gate -way I ask'd, had she
dwell- ing, And here will I
been ? They ansvver'd " here
stay ; Come in, if you're
wait we, To wel- come her
wil - ling ; If not, keep a -
in."
way!
KEY Q.
THE MAY-TIME.
Words translated from the German by J. S. STALLYBKASS.
M. 66, twice.
/: s
s : d 1 : PI
In :
s :d
n : PI.S
:f.l|s :-
:s, |
The
:d
May-time, the
d : - : -
May-time, how
|- :PI :d
love - ly
d : d.n
and fair,
:r.f|n :-
What
The
May
-
time, howl
love-ly
and fair,
: PI
The
:d
n : - : s
|s :
time,
Id :
.
: I :
: s
May
d : - : -
\ The
May
time,
What
r : - : - | -
; -
: s
s : -.f : PI
|r :t, :
there ;
t, :- :- 1-
: -
The
: n
night - in-g
n : -.r: d
ale sing - eth,
|t| : sj :
s :- :- |-
: -
!
: :
i : :
S S
there ;
s :- :- |-
; _
:
: :
1 : :
The 1
n n
St. Co. (New.)
:d.n:r.f|n
Gersbach.
:d :f.n\
pas - time and plea - sure is
: : si | S| : d : d
What pleasure is
: : r i n : s : s
What pleasure is
n : d : t|.r| d : n : d
pas - time and plea - suro is '
Over
:-.f:n |r : t, :
it up - springeth,
: s, :
: -,r: d 1 1,
222
ADDITIONAL .EXERCISES. PART I.
1 d :- : d |n : - : n
s : -
:- Id 1 :- :n.f
s : -
: d .r | n : - : r \
field and hill and
dale,
Over
field
and hill and j
: :s ( .sild :- :d
Over hill and
n : -
dale,
: - 1- : - :
:
:d.d|d :- :t, f
Over hill and,'
: : 1 : : s .s
s : -
: s Is : - : d .r
n : -
: s.l |s :- :f \
Over
hill
and dale, Over
field,
Over hill and 1
: .- 1 : :d.d
d :-
:d |d :- :
:
: n.f |s : - is,/
/ d :- :- 1- :-
8 .' d
:n |n :s :d n :n.s
:f.l|s :- :., x
dale. The
gates of
the earth, that were
lock'd up
so fast, Let
d :- :- 1- :- d
d :-
: - |- : n : d
d : d.n
: r .f | n : - :
dale. The
earth
gates, so
late - ly
look'd fast,
n : - : - 1 - :- n
n : -
: s |s : - :
:
: 1 : :
dale. In
May"""
time,
d :- :- I- :- d
d :-
:- |d :- :
;
: 1 : : s
Let
/ d : d JT. r .f | n : d : f .n r : -
:- |- :- it
8 : -.f
: n | r : t| : \
out their poor pris'- ners at
last,
As
li - lies and ro - ses,
: : BI | si : d : d
t, :-
: - | - : - : n
n : -.r
: d 1 1| : S| :
poor pris'- ners at
last,
: : r | n : s : s
s : -
' - | - ; - :
;
: I : :s
poor pris'- ners at
last,
And
n : d : t|.r |d : n : d
s : -
: - | - : - :
:
: | : :n
out their poor pris'- ners at
last,
;
: : I : : s,.s
d :-
: d |n : -.n : n s : -
:- Id' :- :n.f
And the
pinks,
and bunch - es of
blue
bells, And the
; | ; ;
: |d : - .d : d
n : -
:- |n :- :
Bunch - es of
blue
bells,
s :-.f:n |r : t ( :
:
: I : :s
s : -
: - |s : - : d .r
vio - lets for po - sies,
And
blue
bells, And the
n : - .r : d 1 1, : s, :
I : :d
d :-
:- Id :- :
s :-.d:d |n :- :r
d :-
:- I : s
s : d 1
: n In : s : d
red lit- tie pim - pcr-
nels.
In
May- time, in May-time, oh,
: :s, |d :- : t.
d :-
:- I : d
d :-
: - | - : n : d
And pim - per-
nels.
In
May
time, ob,
n :-.n:n I s :- :f
n : -
:- 1 : n
n : -
: s | s : - :
red lit- tie pim - per-
nels.
In
May
time,
j 1
: : a 1 8j : - : s,
d :-
:- I : d
d :-
: - | d .' - :
And pun - per-
nels.
,
St. Co. fNewj.
ADDITIONAL EXERCISES. PART I.
223
n : n.s :
f.l|s :
- : BI
d : d .n :
r .f | n :
d :f.n
r : -
waste not
the hours,
Go
twine you
sweet gar -
lands of
flow'rs ;
d : d .n :
r .f | n :
:
: :
s, |s, :
d :d
ti :-
sweet gar -
lands of
flow'rs ;
; ;
1 :
;
: ;
r | n :
s : s
8 : -
sweet gar -
lands of
flow'rs ;
: :
! :
: s
n : d :
ti.r|d :
n : d
S
Go
twine you
sweet gar -
lands of
flow'rs;
s : - .f :
n | r :
t. :
. t
1 :
: s,.S| d :-.d
far on
the mea -
dows,
There is
ful - n<
n : - .r :
d It, :
8, '
; " ;
! :
;
: :
1 :
: s
s : - .f :
r, | r :
t, :
.
And
deep in
the sha -
dows
1 :
: n
n : - .r :
d It, :
s, :
S t ""*
:- |d'
: - : n .f
s :d
: d .r | n
: - : r d :
joy.
And there
3 reach-eth
us no
an- noy.
n : -
:- I-
;: - :
;
: S| | d
: - : t, d :
joy.
And no
an- noy.
s : -
:- 1-
: - : d .r
n : n
: n .f | s
:- :f n :
joy,
And then
3 reach-eth
us no
an- noy.
d :-
. i
~ i
; ;
:
:d |s,
: - : s, d :
And no
an- noy.
8
Oh!
n
: d | n : - : n
ness of life ana
: S|.8|| d : - : d
There is life and
? I : : s .8
There is
: ' : :d.d
THOU SHALT SHOW ME.
KEY D. M. 96. Canon, four
d' :-
life
f ;n
|s :
Thou
in
|f
the
: s
r
path
BS) in two (subjects)
d 1 :- - :
show
: :
't |d' : 1
me the path
Id :- -
Thou
I
S. Webbe.
- 1- 't
of
:d |f :-
shalt show
i
, f
t : d'.,t :
1 :
d'.,r'|d' :d' t
1
:- |d' :d'
Thy pre
: s .f n :
sence is ful
ness of
:- |n :-
of life;
: :
: '*
in
|s :- -
Thou
1 :
Thy
. c 1 A\ .
S | U
shalt show
: 1
St. Co. (New).
224
ADDMIOXAL EXERCISES. PART I.
r' : Id 1 :d'
joy, And at
f : I n '
pre - sence,
me the
: |d :-
f :f |f :r'.r'
Thy right hand there is
: |r :r
in Thy
1 :- 1- :t
path of
- :d |f :-
n 1 :- |d' :d'
plea - sure for
d :- |1, :1
pre - sence is
d 1 :- |d' :-
life ; in
:n |f :
r 1 :- | :r> \
ev - - er
f : is : s |
ful - ness of
Thy '
r :- |- : s.f
Thou
shalt shew
me the
patu of ,)
d 1 :- Is :-
more. Thou
d :|:
1 cR : d'.,r'| d 1 : d 1
shalt shew
: 1 :
t :- Id 1 :d'
ful - ness of
r : |n :
in Thy
Thy
- :t |d' :-
me the
: |d :-
Thou
r> :- |d' :d'
joy, and at
f : |n :
pre - sence,
FINE. ^
d'.,t : d'.,r'| d : : d 1
1 : i : t \
path of
:d |f :- ,
shalt shew
f :f |f :r'.r'
Thy right hand there is
: | r : r
in Thy (
D.S.
t :- Id 1 :d'
ful - ness of
pre - scnce ia
life ; '
d 1 :- Id' :-
life ; in
pre - scnce is
- :n |f :-
r :- 1- :s .f
n :|:
r : |n :
me the
plea - sure for
d :- |1, :1
pre - sence is
path of
r 1 :- |- :r'
ev - er
f : |s :s
ful - ness of
life ; ^
d 1 : |s" :
more. Thou ^
d :!:-
joy.
in Thy
; g | (Jl ;
shalt shew
: 1 :
KEY 0. M. 72, twice.
Fa la la
: n .f 8 : - : -
THE WAITS.
1st time P-, 2nd/., 3rd/:, 4th/., 5th p., 6th pp. Jeremiah Savillc, 1667.
r' :- :- d' : 1 :t Id 1 :- : r'.n 1 f ' : - :- \
la, Fa la la la, Fa la la
s :- :- n :n :s |n :- :f.s 1 :- :- /
: d'.d 1 d 1 : - : -
t :- :- d' :d' :t |1 :- :t d' :- :- jj
Fa la la
: d'.d 1 d 1 : - : -
la, Fa la la la, Fa la
s : - : - 1 : 1 : s 1 1 : - : s f : - : - }
n 1 :- :- r 1 :t :-,d'|r> :- rn'.f s' : - .1' : s .f |n' : n 1 :-
la, Fa la la la, Fa la la la la la la la,
s :- :- s :s :-.s|s :- : n .r n :-.f :n.r|d :d :- f
d 1 :- :- t :r' :-.d'|t :- : t .t t :-.t:t.t|d' :1 :- i
la, Fa la la la, Fa la la la la la la la, 1
d :- :- s :s :-.s|si :- :n.i n :-.n:n.n|l :1 :- /
St. Co. (New.)
ADDITIONAL EXERCISES. PART I. 225
f :
f i :-. n '|r' :- :
n 1
B.C.
d 1 :1 : r' |t :s : d 1 d 1 : d 1 :-.t|d' :
Fa
r :
1 :
la la la;
r :-.d|t, :- :
1 . :-.l|t :s :
Fa
S
d'.t
la la la la la, Fa la la la la.
f :f :f.n|r :r : n n :r :-.r|n :
Fa la la la,
1 : d 1 : r |r' : t : d 1 s : s : -.s |s :
Fa
r :
la la la la ;
r : -.r| s : :
Fa
n
la la la la la, Fa la la la la.
f ' f :r Is :s :d s : s, :-.S||d :
THE CUCKOO.
KE1
' F. M. 96.
: 1 :
SOLI. /. Gersbach.
\ \ : * m : | : : | n : d
.
: 1 :
Cue - koo ! Cue - koo ! and
:
: 1 :
: 1 : : 1 : n : | : d
CHOR
: s,
' Who
us.
d : d.d|n.,r : d .n
sings in the shady thicket
s
near?
Cue - koo ! and
- 1 : : 1 : d : | :d
f
:-.f|l :f
1
: s
| s : s
m : | : n .r
n : n | n : s \
hark
d
how c - cho
an
f
- swers clear, Cue -
: n |n : m
koo! The
d : \ :d.t,
two short notes are 1
d :d |d :n f
1
:-.l|f : 1
d"
:d'
Id 1 :
: T \n : s
s : s | s : s
hark
f,
how e - cho
an
d
- swers clear,
:d |d :
Cue - koo ! The
: m \d : d
two short notes are
d :d |d :d
S
:f |f :f.n
r
: r
|r .n:f
n : - .s |n : s
n : \ : s \
scarce-ly heard, when
n : r |r : r .d
e
t,
cho quick -ly
: ti | t|.d : r
mocks the bird, Cuc-
d : - .n | d : n
koo ! Cue- ,
d : | :* /
s
: s | s : s
S
: s
I s : s
s : - .s | s :
: h :
scarce -ly heard , when
S| . : si | s, : s.
e
i
- cho quick ly
: si |si : s.
mocks the bird,
d :-.d|d :
Cue - koo !
: n \d : ,
m
koo!
d
: 1 :
'
1 :
1 :
: s \m
Cue - koo !
: m \d :
:* I* : \
Cue - koo!
:* \d : /
: 1 :
:
1 :
: \ :s
n : 1 :
\\
o
tell me now the songster's
d .d : d .d | r : si
name. Cue -
d : | :*
koo!
d : I j j
St. Co. (New.)
226
ADDIlIONAL EXERCISES. - PART I.
: 1 :
: | :
n : | :d.r
n ; - .PI j PI ; PI .f '
1 : 1 :
Cuc-
: | : n
koo ! We
d : \ :d.t.
hear them sing, and
d :-.d|d :d.r
f :-.f|f :s
1 : s |s :
: s \ n :
: 1 :
Bird of beau - ty,
11. :-.l,|li :d
bird of fame,
f :d |d :
Cue - koo!
: n \d :
: 1 :
s :-.f|f :-.r
r : n .f | s : s
s .f : n .r | n :
PP
: : s \
catch the tone, Then
n : - .r |r : - .t.
turn and sing it,
t ( : d .r |n : n
sing it as our own. Cuc-
n .r : d .t||d : n
koo ! Cue-
^1
1 * n i
: 1 :
: 1 :
: 1 :
it \ :
: 1 :
: 1 :
: :
Cue - koo !
:m \d :
/ n : I :
' koo ! cm.
di
: : 8|
PP o
: s | n : s
Cue - koo ! O
:n |d :
: : s
O
d.d:d.d|r :r
tell me now the songster's
n .PI : n .n| s : s
tell me now the songster's
: 1 :
s .s : s .s 1 1 : 1
tell me now the songster's
n : |f : d
s :- |f :-'4
name, O
t, :- |d :r
name, Q.
d- : 1 f :
name, O
= 1 :f.
tell me
r : 1 1 : s
tell me
tell me now the songster's
n : - .f | s : 1
tell me now the
d : |d :d
tell me the
s : s | : f .1
n : |r :
song - ster's
d : 1 1| :
song - ster's
s :- | :f
d : s |n :
name. Cue - koo!
d :n Id :
name.
n : | : s
: s |n :
Cue - koo !
:n |d :
n : | : r
tell mo the
d :ci.r|ri :f
name, tell me now the
song - - ster's
song - ster's
name. Cuc-
d : | : n
name.
koo!
d : | : s,
: 1 :
: 1 :
n .n : n .n|n : s
tell me now the song -ster'
d.d:d.djd :d
dim. dim ^
:s |pi : :s |ri : : |
Cue - koo ! Cue - koo !
:n |d : :n |d : : |
PP
di :- |- :d' s :-|-:d s :- |
s name, Cue - koo ! Cue - koo !
A . I . . .__, I . . 1
St. Oo. fNmo.J
ADDITIONAL EXERCISES. PART I.
227
KEY G. M. 80.
BON ACCORD.
(Music from the old Scottish Psalters.)
s : | s : d
Lord, bless our
d : | a, : S|
ti : - .d | r : n
fel - lowship this
S| : - .1,1 ti : d
r : s |n : d
hour, And bless the
r : ti | d : si
r :r |d :
food we eat ;
1, :t, |d :
n : |n : n
Lord, bless our
d : - | d : d
r : - .r 1 s : s
fel - lovvship this
s : s |d : d
hour, And bless the
t ( : si | 1, : n.
f : r |n : s
food we eat ; Oh,
f i 8| ! dj :
:' 1 :
: | :d
t : 1 : s
Oh,
t- ; 1, |s, :d
f : n | r : d
grant us by Thy
ti : d | 8| : si
t| : ~.d | r : n
sav - ingpower.A -
8| : - .Sil si : Si
Oh,
f :n |r :d
grant us, by Thy
s : f |n : s
sav - ing power,A -
s : s |s : n
round Thy throne, a-
r : - . r | r : s
grant us, by Thy
:d |t, : 1,
Oh, grant us,
sav - ing power, Oh!
si : l|.t||d : n
grant us by Thy
r : d ft, : d
po\ver,A - round Thy
sav - ing power, A -
s, : - .1,1 1| : d
throne to meet, /
by Thy eav - ing
r :d |d : t,
round Thy throne to
A , J 1 1 1 Jf m.
t, : a | i|.S|. i, ,S|
d :-|-:-
meet.
n, : | :
s : | s : d
On ev - 'ry
d : | si : s.
t, :-.d|r rn
soul as-sem - bled
S| : - .1|| t| : d
f : n |r : r
d :- I- : -
n : |n : n
r : - .r | s : s
round Thy throne to
s, : 1, ifi : s.
meet.
On ev - 'rv
d : |d :d"
soul as-sem - bled
s, : - .s,|si : d
r : s |n : d
here, Oh, make Thy
r : ti | d : si
r : r |d :
face to shine,
li : ti | d '.
1 :
: I : d
: | : s
Thy
ti : 1, Is, : d
s :s Id :d
here, Oh, make Thy
ti : s, | 1| : HI
f : r | n : s
face to shine, Thy
fi : s, jd, :
Thy
f :n |r :d
good - ness more our
:d |t, : 1,
good - ness more our
s : f |n : s
hearts can cheer, Thy
s, : l,.t|| d : n
Thy good - ness
more our hearts can
f : n |r : d
good - ness more our
t| : d | s, : s,
hearts can cheer, Than
s : s | s : n
t, :-.d|r :n
hearts can cheer, Than
8, : - .8,1 S| : S|
rich - est food, Than
r : - .r | r : s
r :d |d : t,
rich - est food or
u, U |1|.S|!I|.S|
d : I :
wine.
n, : | - :
wine.
d : |- :
rich - est food or
f : n | r : r
good - ness more our
r :d |t, :d
cheer, Than rich - est
hearts can cheer,Than
s, : - .1|| t, : d
food or wine, Than
rich - est food or
s, : li |ft : s,
rich - est food or
wine.
d, :- |- :-
wine.
Si. Co. (New.)
228
ADDITIONAL EXEliCISES. PART I.
*HOPE WILL BANISH SORROW.
KEV F. M. 72. Words by GEO. BENNETT.
Hivabiait Melody.
P
' ~
--= a - P
, -
^v
-^rr ' "
S I -
.n : l.s
s .,f : n :
r .n : f . 1 : s .f
f :n :
s : -.n : 1 . s
s .,f : n : \
l.Once again we're
doom'd to part,
Deem not 'tis for
ev - er ;
Love if rooted
in the heart,
d :-
.d:d.d
r .,r : d :
t|.d : r.f :n.r
r :d :
d : -.d : d.d
r.,r:d :- '
2. When
I'm far a
-way from thee,
O'er the o - cean
sail - ing,
You will often
muse of me,
n : -
.s : f .n
So a __
.,9
s .s : s :s
s : s :
n : -.s : f .n
s .,s : s :
3.Faith and trust in
heav'nwe have,
God is ev - er
near - est,
He can still the
stormy wave,
d :-
f
.d:d.d
t,.,t,:d :-
f .n : r.Si:l|.ti
-o
t, :d :
d :-.d:d.d
t|.,t,:d :- (
J
i .8 :
t.l :s.
fe
A A
1 : s :
r
f :-
.n : r ,d
ti.,d
. r :
1 : - .s : f .n
Time nor tide can
sev - er;
'Tis
the sad a-
dicus that chill,
Make the parting
t|.r : n : r
r : r :
r : -
.d : t|.
1,
8| ,,1|
: t/ :
f : - .n : r .d
Tears & sighs pre -
vail - ing,
But ne'er think of
me with fear,
Check at once the
s".t :_
r'.d: t.
1
d 1 : t :
ti :-
.d : r .n
f
1 r :
r :-.n:f.s
Bear me safe - ly,
dear - est.
Then, farewell my
na- tive shore,
Clasp me to thy
\ Si . S| :
3 :r
fe : s :
81 : -
.li: ti.
i
r ,,d
: t, :
t- : - .d : r .n
cres.
r ,,n :
r :
8 : - .n : f .s
1 .t :r'
d':t
1
s
:r>
: - .n : f .r
r :d :
sadder
still.
Say "we" 11 meet to
-mor
row,"
Hope
will banish
sor - row.
d .,d i
81 :
Si :-.d:d.d
d :-
- :d
d
: - .d : t,.t.
t : d :
ris-ing tear,
Sing "wiHlmeetto
-mor
row,"
Hope
will banish
sor - row.
1 .,1 :
t :
d 1 : - .T : s . s
f .8 : t
1 ' 8
f
n
~ .8 : r . s
f : n :
heart once more,
Sing "we" 11 meet to
r ,"
Hope
will banish
sor - row.
-mor
rov
f .,f :
f :
n : - .d : r .n
f :-
: f i
Si
! ~ .8|! 8|.8|
si : d :
HOW BEAUTIFUL
THE
SUNSHINE.
KEY D. M. 80. Words by GEO. BENNETT.
German Air.
mf
^
-.,.
em.
^___^=
: .s
8 ..(1
d 1 :- .8
s . f r':r' :
.8
n 1 ..r 1 :
d 1 .t :1 .r 1
8
1. How
beau ti - f ul the
sun - shine gleams In
glorious summer's golden
prime,
: .n
n .,n :
n :- .n
f..,f:f :
.f
n .,s
s .8 :s .fe
r
2. But
oft the sun shine
brighter glows,
And
dear-er
seems to heart &
eye,
: .s
8 .,8 '
8 : .8
8 .,8 :s !
.r'
d .,t:
d 1 .r 1 :n' .r'
t
3. 'Tis
thus in
life, the
cares and clouds
But
make the pleasures sweeter
still,
: .d
d .,d:
d :- .d
t ,,t :t :
t,
d .,r:
n .r :d .r
S
P
A.t. mf
: s
s .,n :n .8 :d' .,8
1 : :
1
r 's f
n .r ;d .r
n \
On
all a- round it sheds its
beams,
From
ear - ly morn to ev - en-
time ;
:r
n ..d :d .n :s .,s
f : :
f
l r ..t
d .t, :1, .t,
d -
When
sparkling
j o'er the wintry
snows,
Or
glowing o'er the autumn
sky;
:t
d .,s :
3 . d 1 :d' .,d'
d 1 :- :
Ji
rig r
n .s :s .8
S
When
twilight sorrow's vale en -
shrouds,
Hope
shinesmorebrigliton sun-kiss'd
hill;
:s
d .,d :d .d :n ,,n
f : :f
t et, .,s :
S| .Si :s, .S|
d
St. Co. (Ncir.J *In teaching, introduce here St. Co. Ex. 133 to 145, or "First Exercises" 18 to 21.
ADDITIONAL EXERCISES. PART I.
229
f. D. in/
eres. >
/
: *s
s .,d':d'
-. c
t D
1 .,d':d'
:- .d 1
And
yet we tire
ere
summer's sped,
And
: t r
n ,,n : PI
: - .n
f .,f:f
:- .1
When
light and shade
more
e - qual seen,
The
: "t
d 1 .,s : s
:- .d 1
d 1 .,1 : 1
: - .f 1
The
r Id-en threads
time's
weft per- vade,
Shine
: dg
.,d:d
:- .d
f .,f:f
:- .f
t .,d':r' .PI' :f .,t
wish the long long days were
s .,s : s .s : t .,f
cloud will make more bright the
r 1 .,PI': t .d 1 : r' ,,s
brighter for its warp of
s .,s : s .s : s ,,si
d 1
fled.
n
beam.
8
shade.
d
COME, FREEDOM'S SONS.
KEY
Bi?. M. 72.
Schultz.
/ S|
d :d
d :- .si
S| .Pi| : 1| ,S|
_si__.fi : HI .d
l.Come,
free - dom's
sons, and
join in ring- ing
cho - rus, In
.S|
PI| '. PIj
Pl| I - .Pl|
t f
i'i '. di pi|
2. In
rain and
storm our
sky is oft - en
frown - ing, And
|i
s, : si
Si :- .8)
si .d : d .d
s, : s, .s,
3. Then
free - dom's
sons, come
join in ring- in
o
cho - rus, In
.S,
di : di
d, : - .d,
d| .d| : d, .cl|
t a : d, .d;
B.C.
n .d
: s .PI
r .n :
r .d
t, .t, :1,
.1,
s, : .
.8,
li : ti
joy- ful mu - sic
praise
this
fa - vour'd spot of
earth ;
Come
, praise the
S| .n
: s, .s,
s, :
- t ].
S| . S| : fe,
.fe,
S| :
S
1
f i : f i
girt by ra - ging
seas
our
land is rough and
sear;
But
health and
d .d
: n .d
t, .d :
t| .H
r .r : d
.d
t, : .
.d
d : si \
joy- ful mu- sic
praise
this
fa - vour'd spot of
earth ;
Come
, praise the
d| .d
: d| .HI
s, :
- -d,
ri .r, : n
r.
S| : .
,ll
f . : r, /
d
: - .r
n .d :
f .n
n .r :
.8
f .n :r
.d
t, .It : si .d \
skies
in
beauty shin-ing
o'er us,
And
loudly sing to
praise the land that
PI,
: - .si
si .BI :
S| ,8|
si .s, :
.81
S| .8) : si
S|
si .f, :PI, .li
peace
our
dai- ly
la- bours
crowning,
Give
countless blessings
to the cheerful
8 I
: - .t,
d .PI :
r .d
d . t| :
.n
r .d : ti
.1,
si .r : n .n
skies
in
beauty shin-ing
o'er us,
And
loudly sing to
praise the land that
\ d,
: - .s,
d .d :
ti .d
S | . S | .'
.8,
S| .si : si
.il
S| .t| : d .1, /
r
8!
d :
.i
li :t,
d :-
.r
PI .d : f .PI
gave
us
birth;
Come,
praise the
skies
in
beauty shin-ing
1,
f 1
"I :
.8,
f, :fi
HI : -
S|
S| .81 : si .s.
spi
rit's
here ;
But
health and
peace
our
dai - ly la - bours
f
: r
d :
.d
d : S|
si : -
.t|
d .n : r ,d
gave
us
birth;
Come,
praise the
skies
in
beauty shin-ing
f,
: si
d, :
HI
If : r i
d,
.ii
d .d : t, .d
St. Co. (New).
230
ADDITIONAL EXERCISES. PART 1.
n .r .s
f .n : r .d
t, ..It : 8, .d
-*^ ^
r : t|
d .n : n .n
o'er us, And
loud-ly sing to
praise the land that
gave us
birth, the land that
S | . S , S|
S| .8) : S| ,S|
si .f, : HI .1,
L : f i
PI) . Si : 1 1 . 1 1
crowning, Give
countless blessings
to the cheerful
s[-i - rits
here, the cheerful
d .t, .n
r .d : t, .1,
8| .r : n .n
f :r
d .d ;.d .d
o'er us, And
loud-ly sing to
praise the land that
gave us
birth, the land that
III .81 .8,
S| .s, : S| .s.
si .t, :d .1|
f| I S|
d, .d :1, .1,
/ f r
n .d : d .d
r : t,
d :^ .
ijave us
birth, the land that
gave us
birth.
1, S,
8, .1, :li .1,
li : si .f|
n\ : - .
spi - rite
here, the cheerful
spi - rite
here.
r t.
d .n : n .n
r : r
d :- .
gave as
birth, the land that
gave us
birth.
f. 8,
d, .1, : 1, .1,
f ( : s,
d, :- .
THE QUAIL CALL.
(Words translated from the German by
KEY 0. M. 66, twice.
J. S. STALLYBRASS.)
P f Gtrsbach.
,n ; - : n.n | n
: -.n : n
f
-.s : f |n :
: s.,s
s :
: | : :
I.I lark to the Quail how she
pipes at morn, "Comea-
long!
Come a-long !
d :- :d.d|d
: -d : d
r
-.r : r |d :
:
-
: s.,s | s : :
2. Cool on the hea - ther the
dew
yet lies ; "
Cold the
night !
Cold the night ! "
8 : - : s.s | s
: -.s : s
S
-.818 |s :
:
j
: 1 : :
3. Now come the huntsmen with
horn
and hound; "Get you
gone!
Get you gone !
d :- :d.d|d
: -.d : d
t|
-.t,: ti | d i
:
:
: ! : :
1 4. Hark, when the reaping is
ov
er and done, '
' I'll be-
gone!
I'll be- gone! '
d 1 : d 1 : d 1 | d
-r'-d 1 t
- : |s:-.
s : s
s : 1
: t Id 1 : -.r 1 : d 1
come let us hide in the
corn
" Look
at her,
steal- ing through yonder green
n : s : 1 | s
: -.s : s
8
- : |s :-.
s : s
8 :fe
: B 1 :-.!:!
flutt'-ring and shiv - 'ring she
cries
j Runs
to the
sand, where she mak - eth her
d 1 : d 1 :d'.r'|r,
: -.f: n 1
r 1
- : |"f : -.t : t
r 1 : d 1
: t |1 : -.1 : 1
here I lie safe in the
ground : While the wheat
stands and the leaves are yet
d : n : f | s
: -.s : s
S
- : | s : -.s : s
t : 1
: s |fe :-.fe: fe
ruth - less the win - ter comes
on."
Hi - ther and
thi - ther she flits and she
t :- :- |s
<C
: 1 : t d 1
~7~:n' If :-.':' n' :-
: | d 1 : d 1 : d 1 v
field, Tell -ing of
sweets that the har - vest will
yield,
Sing-ing the
,8 :- : - |s
: s : B
s :
B : 8 Is : -.s : s
B : -
: |s : s : s
bed, Pa - tient-ly
waits till the shades are all
fled,
Wist-ful - ly
) r 1 :- :- |t
: d' : r'
d 1 :
t : d' r' : -.
r! r 1
d' :-
: |n' : r 1 : d'
f green, I
by the
bun
ter shall nev - er be
seen ;
Ah, but the
8 : - : - |s
:s :f
n :
r :d It. :-.t,:ti
d :-
| d : r : n
I Sies, But not a
glean-ing of har - vest she
spies,
Tho' in the
St. Co. 'Ntw.J
ADDITIONAL EXERCISES. PART I
231
while that she joy - ful-ly
glides, " God be
d' :- :- - :- :
thank'd, God be thank'd !
o c 1 1 _
.0 .,5 | 1 . .
watch - es the bright > en -ing
r 1 : -.r 1 : d 1 |T : -.1 : s
skies ;
bare ;
d 1 :- :-
"God be
Who'Uba-
thank'd, God be thank'd !
d 1 :- jd'^'ld 1 :- :-
friend? Who'll defend P "
,':. : PI., PI |f :- :-
reap - ers they lay me so
f : - .s : 1 | s : - .s : s
\ vale of her birth she would
stay, Look she
goes, Look she goes,
eres - cen do.
1 s :-.s:s | s :1 :t
A\ .
u . ~ i
_ . _
who for the hum-ble pro-
n :-.n:n |f :f : f
vides."
PI : - : -
_ _ .
slum - her he gave to mine
d' :-.d':d' |t : d 1 : r 1
eyes.
d 1 : - : -
_ ; _ ;
God for his crea - ture will
s : - .s : s | s : s : s
care.
d :- :-
_ . _ .
, ov - er the moun-tains a -
way.
Words by
/. S. Stallybrass.
/KEY B17. S.S.C.T.B.
THE TIME FOB JOY.
(" Soldiers, brave and gallant be")
M. 144.
PI : - .n |d : n : n .r | n : f e
Oaitoldi.
s : - .s i s :
n : - .n|n : s
l.When the win - tor's
d : - .d | d : r
past a - way,
d : - .d | d : -
When woods put on their
d :d.r|d : 1,
green ar - ray,
s, :-.s,|si : 8,
s, :-.S||s, :
li i 1| .i'il 1| 1|
si :-.Silsi :
2. la the leaf -y
n : - .n|n : r
month of June,
n : - .n |n :
Un - dera high and
d : d ,t|| 1| : r
cloud - less moon.
r : - .r | r :
3. Let the sum - mer
sun be high,
d :-.d |d :
Or winter fogs blot
li : 1, .t|| d : r
out the sky,
si :-.S||si : '
n .n : n .n |PI : r
n : | : s
n : d | r : r
d :- 1- :- \
Fa la la la la la
d.d:d.d|d : t,
la, Fa
d : s |n : d
la la la la *
: n .f | s : s
la.
n : | :
Fa la la
Fa la la la
la.
BI.S,: S|.s,|si : s,
s : | d| : n ( .f|
S| : 1| | r.| : si
8) J 1 :
d.d:d.d|d :r
Fa la la,
d :n.f |s :-
Fa la la la
:d.d|d :t,
la.
d ,ti: d .r |n :
Fa la la la la la
di ,d, : d|.d|| d| : S|
la, Fa la la,
d. : - | : d .d
Fa la
Fa la la la
d : li Is, : s,
la la la la
la )a la la la.
d. :-!-:-
la. /
St. Co. (New.)
232
ADDITIONAL EXERCISES. - PART I.
n . - .n|n : s
n : - .n|d :
n : n . r | n : f e
s : - .s | s : ,
Then the birds con-
spire to sing,
Then, then with joy they
hail the Spring,
d : - .d|d : r
d :-.d|d :
d :d.r|d : 1,
ti :-.t,|ti :- J
si :-.s,|si : si
si :-.8,|si :
1, 1 1| .Til 1| I 1 ;
s, :-.s,|si : 1
E'er the dew hath
shut the rose,
While yet a breath of
eve - ning blows, I
n : - .n|n : r
n : - .n|n :
d : d .t|| 1; : r
r : - .r |r : \
Songs of joy can
still a rise,
Deep in the heart their
foun - tain lies,
d :-.d|d :t.
d :-.d|d :-
1, :l,.t,|d :r
si :-.8,|S| : /
P
n .n ' n .n | n i r
n : I : s
n : d |r : r
d :!-:-
Fa la la la la la
la, Fa
la la la la
la.
d.d:d.d|d : t,
d : s |n : d
: n .f ! s : s
n : | :
Fa la la la la la
la la la la,
Fa la la la
la.
S..S,: s,.s..s,. : s.
s, : |d, : n,.f
s/ : li |r, : si
si :-!-:-
Fa la la la la la
la, Fa la la
la la la la
la.
d.d:d.d|d :r
d :n.f|s :
:d.u;d : t ;
d .ti: d .r |n :
Fa la la la la la
la, Fa la la,
Fa la la la
la la la la la.
d..d. : d .d d : s.
d, ! | :d.d
d : I, | si : s,
d, :-|-:-
Fa la
la la la la la.
P cres.
t| : t|.lj t| : d
t| : t, |r : r .d
r : n |r : r
n : s | s : f e \
Hark ! do you hear the
tale they tell? Near
and more near the
tid - ings
r : r .d|r : n
r : r |t, : ti.li
t| d | t, I t|
d :t, |r :-
s, :si.ri||si : s.
81 : s, | si :
: | : s,
i :~ 11. :-
Hark ! do you hear the
night-in - gale, Sing
loud and clear, His
thrill - ing
: 1 :
: P\T :s.n
s : | : s
n : 1 1 : r
Hark! do you
hear,
Hark ! do you hear our
songs re - sound, Still
loud and clear, The
whole year
8| : s. . 1|| s : d|
si : s ( |s, :s,.l
s, : d, | a, : si
d :n |r :- /
/. ff
s :- I- :-
r : r .d|r : n
f :-.f|f :-
s :f.n|f :r
swell :
Now with a sun - ny
sky a - bove,
Now is the time for
t, :- 1- :-
t, :t|.d[t| : Si
d :-.d|d :-
n : r ,n|d : s
si :-|-:-
s, :8|.ni|s, : s,
fi :-.fi|fi :-
HI : f, . S|| 1| ; S|
tale?
Here, in the green and
sha - dy grove,
Here is the place for
F :- I- :-
t| t|.l|| S| : d
1, : - .1,1 1| :
d :l,.d|d :t,
round P
Where joy desccnd-eth
frm a - bove,
There is the place for
si :!:
8, :s,:i|ti :d
fi :-.fi|f| :
d, :r,.di|f, : si t
St. Co. (New.)
ADDITIONAL EXERCISES. PART I.
233
d :-.d|d :-
VP
n .n : n .n|pi : s
n :- I- :-
P
d.d:d.d|d : t, \
joy and love,
n : - ,n|n :
Fa la la la la la
d.d:d.d|d : t.
la,
d :- |- :-
Fa la la la la la
n .n : n .n| n : s
s, :-.Si|s, :
S|.s,: S|.s,| s, : s,
si :|:
BI.SI: si.sil si : s (
joy and love,
Fa la la la la la
: 1 :
k,
n .n : n .n|n : s
Fa la la la la la
joy and love,
d| ; - .d|l d, :
d.d:d.d|d :n
Fa la la la la la
d :- |- :
la,
d .d : d .d|d : n
Fa la la la la la
la,
Fa la la la la la /
cres.
d : | : s .s
n : | : s .s
.ff
n : : n .n
n : i :
la, cres. Fa la
n : s .s |n :
la, / Fa la
: s .s |n :
la, ff Fa la
: s .s |n : d .d
la.
d :- |- :-
la, Fa la la,
S, : H|.P1|| 8) !
Fa la la,
:ni.ni|s, :
Fa la la, Fa la
la.
i HI ,pi|| n, i
Fja la la,
:"d~.d|d :-.
cres.
d :- ! :d.d
Fa la la,
:d.d|d :-
d :- | :d.d
Fa la la,
:d.d|d :
ff
d :- | :d,.d
Fa la la.
d, :- j- :-
la Fa la
la, Fa la
la, Fa la
la.
KEY F. PP
n :f |s :1
HEAR ME WHEN I CALL.
r : | s : d : |r :n
G A Hacfarren.
f m 1 n ' \
Hear me when I
d :d |d :d
call, O
t, :- Id :-
Lord of my
d :- It, :d
right - eousness; j
d :-.d|d :
s :f id" 1 :1
S ""~~ | S ~~
n : | s : s
1 :-.sjs :
Hear me when I
a :li In, :f,
n :f |s :1
Hear me when I
d :d |d :d
call, O
s, : | HI :
Lord of my
1, :- Is, :d
? :d |f :n
right - eousness ;
r : - .d|d : n
right - eousness ; Have
t, : - .d | d : d
call, O
t, :- |d :-
Lord of my
s :f |d :1
s : | :f
n :- |f :s
s : - .n|n : s
Hear me when I
d ' 1| |PI| : f |
call, O
Lord of my
L : | r, :m.f
right - eousness ; Have
s, : - .d | d : d
St. Co. (New.)
234
ADDITIONAL EXERCISES. PART I.
ertt.
s : In : r
i. my.
d :d | :d s ,
t :- |n
: r
JT.t.
d :d | :
mer cy up -
d : Id : s,
on me, Have
1| ! 1| | ;d g|
mer - cy
d :- |d
^ up -
on me, f
li :li 1 :",!. '
s : |s : s
n ' n | '. * n
8 :- Is
: s
And
n : n | :
mer - cy tip
n : | d : ti
on me, Have
mer - cy
n : |d
up -
:ti
on me,
1, : 1. 1 :
: I ;l|r
and
r :d |t, :1,
t
s :- |f :n
'im.
f :- |r
un - to
r : d | ti
: r
my
my
: s,
: s
r : | n
pray - er.
t, :- |d :
:- |s :
pray - er.
d :- |d :
1 :1 I :
heark en
d : - |r : n
heark - - en
and
: | :df
C.t. ff
8 :1 |T :d'
1 :- |s
un - to
r :- |s
r 1 :-.s|s
heark en
n : |r : d
n 1 : d' |1 : t .d
Lord, lift thou
M :- |f :f
up the light of thy
n : s |f : f .n
coun - te- nance up -
s . | ,f : PI .r
on me,
f :f 1 :
d 1 : | d 1 : t
d 1 :d p |d' :r'.d
d> :t |t
: t
d :d' | :
Lord, lift thou
t ( n : | r : r
up the light of thy
d :n |f :r.l
coun - te - nance up -
8 : - .8 | 8 : 8
on me,
f :f 1 :
,?._!_:_
t : d 1 1 1 : f
? : I
:1.1
t :d' fl :d'
Lord,
lift thoj up the
f :s |f :d
ri- ,-
of thy
:f .f
coun - te - nance up -
f :s |f :n.f
fi ':- \- :-
r 1 : d' |d' : 1
f :- |-
:"?.!'
r 1 :d' Id' : d'
Lord, >
: | r :
lift thou up the
f :n if :
light
:r |r
of thy
: r .r
coun - te - nance up -
r :n |f :1
Lord,
lift thou up the ligh
f. F. # dolce.
:_ |_ : _ dig : f | n :r
* 1
d :1 |s :~ - :r
down in peace and
and take
: | :d's r :
on me. I will lay me
s : | : f n : | : : I :
r 1 : I : d
: I : : I :
on me.
s :-|-:- d :-|-:- : | :
and ta 1 e
: | :i,n, s, :
&, Co. (New.)
ADDITIONAL EXERCISES. PART I.
235
r : s.f
PI :
s :
- :f
PI : r
d :1
s :
: r
r : n
take my
rest, I
will lay me
down in peace,
and take my
t, :
d : r d : t,
d : :
: :d
d :
t, :
my
rest, and take my
rest,
and
take my
s :
s : f n : r
n :
:
: : s
r :- |s :-
* 8| : ~~
d :-
:
: :
: : PI,
S| : | s ( :
/ f :-
J
fc_
: r
~s :7~
f :- If :-
: s
n :
:
rest;
For it is
thou,
Lord, on
.
d :- , :
:
:
: :
:1, r :d
t, :- ,
rest;
For it is
thou
f
i * .
:
:
:s" |d' :t
1 :
1 :
: s
rest;
For it is
thou on
.
li : 1.
r :d
ti :
:
d :- - :-
r : r, :
S, 1
\ For it is
thou,
Lord,
thou, Lord,
on /
f. B7. pia.
PI :*S| 1, : -.8,
si :
1, : : s,
1, : t, d :r
i :. 1 : r \
ly that
mak - est me
dwell in
safe
ty; that
d : d Si
f| ! -.PlJ P1| I
f i : : si
f, :-
f, :
: s, | S| : si
that
mak - est me
dwell in
safe - ty ;
Thou on - ly
|d :fd
d :
d :d
d : r.d t| : d
d :- f :-
n : :T
ly that
mak - est me
dwell in
safe
ty ; that
ll :1,PI|
fi : -.d|| d| :
f, ' ^
: n,
f, : s, |1| : t,
d : : ti
1
, ly that
mak - est me
F. t. PP
PI : -.r
r
mi; : s
1 :t |d' :1
s : : s
IT t ~"~
mak - est me,
dwell in
safe
ty. A -
men,
8 t : s, : s.
s,d : r.d
t, :d
d : f :
n : Si
d :
: t-.l.
' mak - est me
dwell in
safe
ty. A - men,
d : -.t,
t. :
df : -
: s
f :- - :
s :
: n
s :
mak - est me
dwell in
safe
ty. A -
men,
d ! -.S|| 8| !
d ,f 1 : ! n (
f i : S|
li : f,
d : :
:
Jff
s :f
n :- d 1 :-
:
t : 1
t : |t :
d 1 :-
:
A
men, A
. <, .t* .', .
men, A
men,
t, :-
d :- d :
r : | :
- :- |s :f
PI : | :
|s :-
1 :
n :
s :
:
- :- |s :-
8 . "~~ ~~
A -
men, A
men,
A
men,
i :
!
1, :-
si : :
:
81 : ~!ld, i s - i- : -
8l. Co. (New.)
236
ADDITIONAL EXERCISES. PART I.
KEY F. M. 108.
d' :d'.t|l :
r' :r'.d'|t :
C. t. Matthew Locke.
d'f rr'.d'lt :s' r'.f : n'.r'ln'.d 1 :
We fly by night,
: | d : d .d
We fly by
: |f :f.s
we fly by night,
f : - -n ! r :
we fly by night 'mong troops of spirits,
"1 : 1 . 1 1 1 : s s : - . s | s . s :
we fly by night 'mong troops of spirits,
d' ff |r' :d" d 1 : t |d f .d':
night,
1 s : 8 .8
We fly by
: |f :f.n
night, we fly by
r : |s : s .f
night, by night 'mong troops of spirits,
"1 : f ! s :n s : s |d .d :
f. p.
: 1 :
r :r.d| t, :
d'g :g.f|n :
We fly by night,
d :d.t,|d :
d 1 :d'.t|l.t:l.s f .s:f .n|r :
we fly, - -
d : d .d|d : r : r .r |r :
We fly by night,
| n't :t.l| s :
_We fly by night,
? : s ,s| s :
we fly by night, we fly by night,
1 :1.1|1 : 1 :l.f|s :
: |d' s :s.f
\ We fly by
n : |d :d.t,
night, we fly by
1, : If
night, we
: f .n r .n : r .d| t|.d : t ( .l (
fly /
/ s : s .f |n .f
: n .r
d .r :n .d
|r .n : f .r
n .f : s .n |f .s : 1 .f
we fly -
r : r .r |d
d " :d .d
t, :-".t,
d" :- |f :"f .f i
we fly by night,
t : t .t |d"
a, : Id
:d .t.
We fly by
n :n .n
li .t, :d .t,,l
night, by
: - .s
s, : si
night, we fly by ,
8 :d' Id 1 :d'.t
d .r : n .d |r .n : f .r
we
fly,
-
we
fly /
s .1 : ta.s |1 .t
:d'
by
:f
t :d' Id 1 :t
night 'mong troops of
r : n r : r
D.C.
d' .d 1 : - |
spi- rits.
n .n : I :
n : - .n |d
night, we fly
d 1 :- .d 1 |d r
. by =
night 'mong
s : s
troops of
8 : s
spi- rits.
8 .8 :- i :
n .f : s .n |f .
:1 .f
8 :d
night 'mong
8, : si
troops of
d .d : I :
spi- rits.
...
by
St. Co. (New).
-
f
ADDITIONAL EXERCISES. PART I.
237
MY
LADY IS AS FAIR AS FINE.
KEY '.
1 : d .r
B>. M. 90. p
PI : - .n | PI ; f
F. t.
PI : r .d | f : r n : r .d | r s : d 1
John Benet, 1614.
d> :t |d :d.r\
My"
la - dy is as
si :-.s,|si : 1 (
fair as fine, With milk - white hands ane
si : f..ri|| TI : t 8| : d | tn : d
I gold - en hair ; Her
r : - .r | d : d
: si
d :-.d|d :d
d : si | si : s".f n : s | sd 1 :T
1 : s .f | n .f : PI .r
My
: d (
la - dy is as
d, : - .d,| d, : f ,
fair as fine, With milk - white hands an(
di : d| |s, : s, d| : d, | s d : n (
I gold - en hair ; Her
fi :si |d i \
n :
ores. 1
r .n | r .d : t|.d
'. B?.
rl,.ti:d.n|r :
n : - .s |f
:d
r : r |n
.
eyes
d :
the ra - diant
4- A 1 4. 1 M 1
l| .u | l| . 1, . S| .1
stars out - shine,
ta,f, :S|.l||t, :
Light - ing all
S| : - .S|| I,
things
: d
far and near :
d :ti |d :
d :
r | r : - .r
s r
: n .d| r :
d : n |r
:d
T : s | s
!
eyes
the ra - diant
S| | S| ! ~ .S i
Her eyes the
stars out - shine,
8 iri ; di | Si ;
stars out - shine,
Light - ing all
n, : - .nj f|
things
1|
far and near :
si : si |d| :
d
: - .r |n : d .s
l,.t
:d |d.t,:-
r^ripT 11
:=>
:d
d :t, |d
.d:
Fair
Pll
as Cyn - thia,
:-.f ( |si : si
not
f,
so fickle ;
I Pll |7|]T|!
Smooth as glass
, tho'
:PI,
not so brittle.
n :r, Idi.d,:
d
: d |d : s,
r
: |s : r .PI
f :d |d.r
:n.f
s :-.f|f
.n:
Fair
d,
as Cyn - thia,
not
f|
so fickle ;
: d, |s,.si:~
Smooth as glass, tho'
f i .S| : 1| ,t|| d : d|
not so brittle.
s, : s, |d.d,:
# F. t.
: | :d.r
n
: - .n |PI : f PI : r .d| t|
: r
n : r .d | r
s :d'
My
: | :pi|.f
heart is like a
si : - .s,| si : 1,
ball of snow, Fast
s, : f t . n\\ TI : ti
melt - ing
s, :d |t
at her
PI : d
: 1 : fi~~
"d
:-.d|d :d
d :si |s,
:I.f
n : s | 8
d 1 : af
My
heart is like a
d| : - .d|| di : f|
ball of snow
d| ' d| | S|
, Fast
melt - ing
d, : d| |
at her
d : P>I
d 1
cr
:t id 1 :d.r r
es. f. Bl?. .,
1 : r .n |r.d : t,.d r l|.t,: d.n|r : "
r
PI : - ,s | f : d
r :r
glan
r
1
ces bright ; Her ]
: - ,r | d : d <
: s .f | n .f : n .r <
a - by lips like nightworms glow,
Spark - ling thro* the
S| : - .S|| 1| : d
d : PI r : d
pale twi-
d : t,
s : s
1 : r | r : - .r r
:s|.ljt ( :-.r
glan-ces bright; Her
f, :s, |d :-
ru - by lips like nightworms glow,
: si 1 si : -,s, s ir, : d ( | S| :
Her lips like nightworms glow,
Spark - ling thro' the
PI, : - .P)|| f i I li
pale twi-
S| : s.
SI. Co. (New).
238
ADDITIONAL EXERCISES. PART I.
/ In '
PP
d : - .r | n : d .8j
l,.t,:d |d.t,:
d : - .r | n : d
d : t| | d .d :
light:
Id :
Is :
Neat she is, no
it :-.fi|s, : a,
d :d |d : s ;
fea - ther lighter;
f i ^
r : 7 | s : r .n
Bright she is, no
f :T |d.r:n.f
dai - sy whiter,
r, : TI | d|.d|:
? : - .f | f .n : -
light:
Id, :
Neat she is, no
d| : - .d|| d| : n,
fea - ther lighter;
TI : d, | Si.Si :
Bright she is, no
f,.s,: Ij.tild :d|
dai - sy whiter.
NIGHT AROUND.
KBY P. M. 72, thrice. (Arranged for this work by GEO. OAKEY).
BI : n ; r
Hm,
d :-
Hm, &c.
a, : -
n : -
d :-
Hm, &c.
I -
1 : :
B, | t| : 1| : ti
d
- If, :- :-
n,
- |r :d :r
d
- Is, :- :-
d
Air by Weingand.
' I <i : n : r
1. Night a-
2. Tho' a-
round
round
d : 8|
t^ \d\J
:/
* : -
:- 1* :-
: 1" :/
: n
r : - : - \
is soft
these clois -
ly
ten
creep
night
ing,
ly
All
Spi -
the
rits
earth
awe
Id :-
: -
r : -
: - |d : -
: - |d : r
: d
t, : - : -
ii, .
t
I _
- 1 -
.
i *i
8 |fe :-
: r
s, .
a : -
i
:- 1- :-
i
:- 1- :-
: -
Sf . . - '
s : - : -
- 1- :-
: -
ti :-
:- Id :-
:- 1- :-
: -
s, : - : -
j\ - - \ !
r :
/
: m
d : -
to
rest
is
laid,
the
tim
id
breast,
1- :- :- 1
s, :
1,
:t,
d :-
1- :- :- I
- :
-
: -
s, : -
If :r :n |
f :
-
: -
n : -
1- :- :- 1
- ;
: -
d :-
St. Co. (New.)
Grief it-
Love fear-
d :- :- \- :- : t\ \d : I \ fe
self lies calm - ly
not where sulmb'ring
d : ti : d | s, : -
n : - : - | - : - : s | fe: -
i9 :-:-) : - :
sleop - ing,
light - ly
r :- :- |d :- :
ADDITIONAL EXERCISES. PART I.
C. t. ores.
- !*': t :d* * : - : - i- : - : mi 7 1 : n 1 :r'
maid?
rest.
d 1 : - : -
n ; - : -
s : - : -
d : - : -
area.
8 ife: s
239
" ! )
- : :
1 '.-',-
on
waft
f :n :f
Sleep - est
I - da
- | t|H : r : n
thou be- lov - ed
lies in heav'n - ly
s:-:-|-:-:d't:-:-
t,n:f:n|r:-:d|r:n:f
si : - : - |- :- :
t, :- :- |d :- :
- 1 : :
- 1 : :
sd 1 : t :d'|s :- :- - : - :-
-:- : - |d : t| :d |s :- : -
dolce. f.F.
|rf' : t : d ] rl / : -
- - ' - :~a~ \f : n : r w : - : - | s : - : -
I - da hear
Play - fill ze
: : taf : -
: : "t,:-
m:
. - - P h
: - - : - : n
: - d : t, : d
f lute's soft num. - bers,
yrs gent- ly steal - ing,
r:d:t, d:-:-|-:-:-
Float - ing
Up - ward
!,:- :- - :- :- - :- :-
f:s:f n:-:- -:-:-
t, : - : - '
r : - : -
s, : - : -
d : I :fe\
: : r : -
/-:-:*!/:
: - - : - : n
Poco rit.
: r m : - : d 1
- :- :- d :- :- |- :- :- | : :
a : - : - |7| : w : r d '.-',- \- '.-'. t {
the balm -
my song
r : - : n r : -
- : - : - 1 , : 1,
to thee,
: - d : - : n
Yet, my lute
May its tones
s : - : - | : : d : S| : 1|
if
mi
si : - : -
I - da
T love re-
d : - : -
Hi =- :-
|fe:- :r
:t|d :-:-!-:-:-] : : s, :-:-
- : - : s
"" ~~ "* 8 ~*
:- -:-:-|PI:-:-| : : n : - : -
- : - : - |- : -
18 : - : - \n : -
slum - bers,
veal - ing,
, r :- :- |d :-
:- d:-:-|-:-:-| : : d:-:-
dim.
: \l :*:<*' :-:-|-:-: I/ :*:*
- :- :-|- :- :-
d :- :- I- : :
fair,
me.
d :- :-|- : :
8, :-:-)-: :
n : - : - - : :
d :-:-!-: :
Hush ! nor
Fill thy
wake my la - dy
dreams with thoughts of
n :- :-|- : - zd|r : d :t|
s, :- :- |d :-
: - I f e : - : -
- :t, :d |s,:- :- |- :- :-
s : - : - | - : -
s : - : - |- : r : n f : - : -
t, : - : - |d : -
:- 1, :- :-
si :-:-|-:-:-|-:-:-
St. Co. (New.)
ADDITIONAL EXERCISES. PART I.
COME, LET US ALL A MAYING GO.
Arranged for mixed voices by GEO. OAKEY.
KET E7. Vivace. M. 132.
/ P
L. Atterbury.
,8 I 8 .8
s : s
1
: s
s : .s
l.f :f .1
s .n : s
r .n : f .n
r : i
Come, let us all a
May - ing go, And
light - ly trip it
to and fro ; f
PI .' PI .PI
r : n
f
: r
n : .n
f :d |d :PI
t,.d:r.d
t, :r.d.
Let us
d 1 :d'.d'|t :d'
d 1
: t |d' : /s
f.l:l.f|d~i :d"
r'.d 1 : t.d
s : r .r
Come, let us all a
May - ing go, And
light - ly trip it
to and fro ;
d : d .d | si : d
f|
: s, |d : .d
f :-.f
n .s : d 1
s : s
s : /
p-R'y, t.
P cres - een - do.
: t n .d j li :
: f .r |t, : - . d : d .d |r : - .r
T : PI v
Let us go, /
let us go. Come, let us all a
May - ing
t, : 1 :1,
l
fi : f .I, | 8| : - . S| : s, .8| | S| : - .8)
BI : li
go, let
us
go,
8 : | :"1|
1|
r : 1| .li |r : - . n : n .n |r : - .r
i :d
P
let us go. Come, let us all a
May - ing
:id|.pi||f| :
: TI ,f| | S| : - . d : d .d 1 1| : - . ti
i : 1,
Let us go,
f ,-.,
f :r
n .
d:f .r
p .r : d .t.
d :-
.
.
P
r .t,: t|.s.
go, And
light -ly
trip it
to and fro,
P
trip it to and
It, :-.!,
8, :t| Id.
d:
s, : s,
s, :
BI .HI : n, .d
li :
:
trip it to andjro,
r : - .r
r : s
: 1
s .f : n .r
n :
:
f .r:r.t
Si :si.s
go, And
light ly
trip
it
to and fro,
tripittoanc
fro, to and
r :-.d
t, :-.,
d
:f,
8, :-.s
d : :
: : /
Id :- f :r
n .
d : f .r IPI .r : d .t
1st time.
f.Efr.D.C.
2nd time.
d : .s,
8
d .n. r .d tj.li: si.f,\
fro,
light- ly,
light -ly
trip it to and fro.
fro. The
bells shall
Pit d| ! S| .Plj
BI ; t|
d
d:
s .'s : s .s
if :
s, : .s,
d|.d : ti.l
f l|.f|! ni.r,
tnp it, trip it,
light - ly
trip it,
8| :
r :T
8
: 1
s .f : PI .r
Pit :-
n :
s : n
:
fro,
light -ly,
light -ly,
trip it to and fro,
fro.
Cue - koo,
, 8|.n,: ivd
t, : 8<
Idi-drf,
s,.s : S'.Sil <M, :
d, : .d
f :- if :-
trip it,trip it,
The bells shall
St Co. (New.)
ADDITIONAL EXERCISES. PART I. 241
rii.n : r .d| t|.l ( . s\.f
ri(.n : r .d | ti . 1| : s t .f\
f. El?.
n, :- | :
sing,
*s : n | : \
Cue -koo,
ring, and the
cue - - koo
d|.d : t| . 1:| S|.f| 1 PI .f|
d|.d : t|.l|| l|*f|! n, .r
d, :- I : ( t,
sing, The
s : n I :* r 1
Cue - koo. The
bells shall
d'.n':r'.d'|t.l : s .t
ring, and the
s : n | :
Cue - koo,
cue - - koo
s : n ' :
Cue - koo,
bells shall
f :- I :d.d
ring, and the
f :- |f :-
cue - koo
f :- 1 :d s
sing, The
d.d 1 : t .l|s .f :n.r
bells shall
s : n | :
s : n | :
s : n | :
0fl
I :d'.d
Cue - koo,
Cue - koo,
Cue - koo,
And the
d : I : d .si
d" :- Id" :-
T :- |- r
: | : n .n
ring, and the
d'.n':r'.d'|t .1 :s.t
cue - koo
d'.n':r.d'|t .1 :s .t
sing, /=
d' : I - : d 1
sing, The
d :- i :
sing,
s : d 1 | s :
drum shall beat,
: 1 :
ring, and the
d.d 1 : t .l|g .f :n.r
cue - - koo
d.d 1 : t .1 |s .f : n.r
ring, and the
cue - - koo
t :d' |t : s s : - .s
f
s : s .d 1
ff
t :d' |t : .t \
fife shall play, The drums sha
r : n |r : n r : - .n
11 beat, and the
r : s .s
fife shall play, And
s : s | s : .s |
: | : d 1 t : - .d 1
t : n 1 .n 1
r 1 : n 1 |r' : .r 1
1
d< : s |s
The drums sha
: d si : - .d
11 beat, and the
s, : d 1 .d'
fife shall play, And
s : d 1 |s : .si
IST TIME. i
: f .n r : s
B?.t. D.S.
2xu TIME.
r : s |n :
so we'll pass our time a - way. The
s :- f |n :d d :- .t, |*f, : .s,
time a - way.
d :- .t. |d :
d> : r | d 1
so we'll pass
li :t, Id
: 1 .s s : s |
sd :
s : s |s :
time a - way
s, : si |d :
our time a - way. The
: f . si : si I d f i : .d
St. Co. (New,)
242
KEY D. Allegro. M. 88.
ADDITIONAL EXERCISES. PART I.
HALLELUJAH, AMEN.
(From " Judaa Haccahaaus.")
Handel.
/
: 1 :
: :
: \
: 1 :
: 1 :
: d .r |n,f .s : 1 .s
Hal-le - lu - jah, A-men,
: 1 :
: 1 :
; ~5* . t | d',r'.n' : f .n 1
/
d
: - .r |n,f.s : 1 .s
1 .
s : f .n | f .n : r
d : | :
Hal
le - la - jah, A-men,
A-
men, Halle - lu-jah, A -
men.
/ A. t.
/
: 1 :
:d .r | n.f.s : 1 .s
1 .s : f .n |f .n : r
Halle - lu - jah, A-men,
A - men, Halle - lu- jah, A -
1 .
s : f .n |r .n : f
n
:d.t| |d :d
- .d : t| d | S| .d : - .t|
A -
men, Halle - lu- jah, A -
men, Halle - lu - jah,
Hal-le - lu - jah, Hal - le-
f .
PI' : r' .d 1 1 1 .d' : r'
d'
:r' 8 .f |s .8 :f .s
f .s : .s | s : - .s
Halle - lu - jah, Hal-lo-
lu - jah, Hal-la - lu-
: 1 :
:* n .r |d,r.n : f .n
f .n : r .d 1 1| .d : s,
Halle - lu - jah, A-iucr.,
A - men, Halle - lu- jah, Hal -
f. D.
d
if | : m t
1
: - |s : d'
d" :f |f :n'.r"
men
, A - men,
A
men, Hal -
le - lu - jah, Hal
d
: - ,ti,l|i 8| : - .ir
n
:f .n |r :
s : f ,n.r | s :
la
jah, Hal - le-
lu
- jah, Hal -
le lu jah,
8
: f | s : - . r 1
d 1
:r' .d 1 It .1 :T
d' :- .r 1 Id 1 .8 : d'
jah,
Hal-le - lu-
jah,
Hal-
le - lu - jah,
1.
: - .8|,1,| t, .8) : <U
- .
d :f | :n
1 : - .t | d 1
la
la - jah,
-
Hal-
le - lu - jah, /
A. t.
n 1
:- .r 1 |d' :- .d 1
d 1
: | : t
d'f : n .r id.r.n : f .n \
le
la - jah, 1 1.il -
le
- lu -
juh, Hal-le - lu - jah, A-men,
S
: - .t, | d.rji : f .n
f .
n : 1 .s 1 1 .s : f
"1, : | :
Hid
lu - lu - jah, A-men,
A -
men, Halle - lu- jah, A -
men. _.
S
: - .f | s : d 1
1 :
s d : - .r | ri.f.s : 1 .s
Hal
le - lu - jah,
Hal - le - lu - jah, A-men,
d
: - .r |n,f.s : 1 .s
1 .
s : f .n |f .n : r
d i'i : :
Hal
le - lu - jah, A-men,
>-
men, Halle - lu- jah, A -
mon.
St. Co. fNewJ
/ f n : 1 .s |1 .s :f
A - men, Halle - lu- jah, A -
n : 'd' |r' : r .r 1
men. O Ju - dah, re-
:d s |f :f .f
s : .d 1 r
joice, re-j
n : .s |1
1 .,iV:f ji' f r\
jice, - - l
If
1 .s : f .n |f .n : f
A - men, Halle - lu- jah, A -
Ju - dah,re-
d : in 1 | r' : r' .r 1
men. Ju - dah, re-
: f d' Id 1 : t .t
joice, re- joice, re -
d 1 ; .n 1 |fi .,n':r' .n'.f
joice, re -joice,
d 1 : .d 1 |d .r',d':t .1 ,t
/
/ n 1 : .d 1 |r' .,n':f jn'.r
n'.r'.d 1 : .s
1 :- .t
songs di-
f :- .f
d' : .n 1 If'.f :fi.f \
vino, With cherubim and
n : .s 1 .1 : 1 .1
Re-joice,
s : .s |1 :s
Ju - dah, in
S .8 : .8
joice, Re-joice,
n 1 : .n 1 |f .,n':r' .n'.f
Ju - dah, in
n 1 .n 1 : .n 1
Jn - dah, in
d> .d : .d'
s : .t
songs di-
r' : - .r 1
songs di-
f :- .s
d' .d 1 : d 1 .d 1
vine,
d 1 : .s f .s : 1 .t
vine, With cherubim and
1 : 1 :
t .t : t .t d 1 : - .d 1 N
Re-joice,
d 1 : .d' Id 1 .r',d':t .1 ,t
n 1 .n 1 : n 1 .n 1 r 1 : - .t
se - ra - phim harmo - nious
S .8 I S .8 f I - .f
join, Wi
n : .s
hcheru-bimand
s .s : s .s
se - ra - phim harmo - nious
s .s : s .s s : - .s
d 1 .r 1 :n> -d 1 r 1 .d 1 :t .8
d' : .r 1
join, Wi
: .s
n 1 .n 1 : n 1 .n 1
,h cheru-bim and
d .r : n .f
r 1 .r 1 : r' .r 1 n 1 : - .n 1
se - ra - phim harmo - nious
s .1 : t .s d 1 : - .d
se - ra - phim harmo - nious
A. t.
/ t : sd ,r |n,f.s : 1 .s
1 .s :f .n
|f .n :r
s :
f. D.
in 1 : r 1 \
join. Halle - lu - jah A-men,
s : r S| | s, : f|
A - men, Halle -
d :d
lu-jah, A -
Id :t,
men,
.d : -
and in
dg ; s
Har - mo - nious
' r 1 : tin .r | d,r.n : f .n
join. Hal -
f .n : 1 .s
le - lu -
|1 .s :f
jah,
n :
and in
I m t : t
join. Halle - lu - jah, A-men,
s : "d |d :
\ Har - mo
A - men, Halle
lu-jah, A -
: r
nious
men,
d :-
join,
and in
ds : s
St. Co. (New.)
244 ADDITIONAL BXERCISK3. PART 1.
/ f :- Is :-
s :
- :d'
d' :- |r> :- >
songs di
\f :- If :-
songs di
d 1 :- IT 1 :-
songs di
1 :- It :-
vine
n :
vine
n 1 :-
vine
d' :
bar -
- :1 .8
mo - - nious
1 .s :1 .s |f .n :f
har -
- : f ' .n 1
mo ... nious
f .n 1 :" .n' Ir'.d 1 : r'
har -
- :d'
mo ... nious
d 1 :- I- :t
/ s :d'.t |d',r'.n' :d'.s
d'.s :l,t.d"
l.t.d' : t
i. , I :
join. Halle - lu - jah, A-men,
A- men, Hal-le - lu - jah, A -
men,
n : s .f I s,f .n : f .n
f .n :1 .s
1 .s :f
n : :
join. Halle - lu - jah, A-men,
A- men, Hal-le - lu - jah, A -
men,
d' :n".r' Id 1 .t : d 1 .t
d^t :d' .s
d 1 .s :r>
8 :|:
join. Halle - lu - jah, A-men,
A- men, Hal-lo - lu - jah, A -
men,
d 1 :d .r |n,f .s : 1 .s
1 .s :f .n
f .n : r
d : | :
: | :r' d 1 : I
. Adagio.
: \ :t 1 : | : d 1
A - men,
: I : : I :
A - men, Hal-
: i :f n : | :s
A - men,
: | :' n 1 : | :
A - men, Hal-
I :r' d 1 : | : d'
A - men,
A - men, Hal-
: | :t d' : | :
: i :s 1 : I :n
t :-.t|d ! : d 1 :- |t :-
men.
men.
men.
le - lu-jah, A
, f :-.f!s :- s :- |- :f
le - lu-jah, A - -
r 1 :-.r'ln' : f 1 : Is :
le - lu-jah, A
r :-.r|d :- s :-,':
St. Co. (NtwJ
ADDITIONAL EXERCISES. PART I.
245
Words by SWIFTLY FROM THE MOUNTAIN'S BROW. Music by
Cunningham. Samuel Webbe.
KEY EU. Allegretto. M. 80.
d 1 :s
d 1 :d'
.r',d': t .d'
r" : r .f
: 1 .f
: s .d 1
Swift - ly,
swift - ly
from the mountain's
brow, Shadows,
shadows
nurs'd by
:
n : d
.t ( ,d : r .n
f :
n .d :
t| .r : r .n
Swift - ly,
Shadows
shadows
:
d : n
.s ,s : s . s
f :
r ,t| : t .s
from the mountain's
brow,
nurs'd by
d : n
: n .d
f .f : f .n
r :t|.s,
d :f,.l,
S| : - .m
Swift - ly,
swiftly
from the mountain's
brow, Shadows
nurs'd, shadows
nurs'd by /
dim. ft
d 1
: t
d 1 :
: t
d 1
night
re -
tire,
re -
tire,
r
: r
n :
"~^ r
n
1
: s
s :
: s
S
night
re -
tire,
re
tire,
fl
: s,
d :
: si
d
s :d'
swift - ly
n : d
s : n
swift - ly
.r',d':t .d 1
r 1 :r .f
: 1 .f
: s .d 1
d' : t
di
from the mountain's
.ti,d : r .n
brow, Shadows,
f :
shadows
PI .d :
nurs'd by
t| .S|,l|: t[,r.d,n
night re -
li : si
tire,
8|
.s,s : s .s
from the mountain's
f .f : f .n
f :-
brow,
r : t| .s i
shadows,
d : fi .1|
shadows
r ,ti,d : r .n
r : r ,n,f
n
tire,
d
Shadows nurs'd by
S| : - .PI,
night re -
f| : S|
Shadows
nurs'd, shadows
nurs'd,
P
Dole. M.
80,
twice. >.
: t
d 1
:
: n : n
If
: - : s
1 : - : - I s : - : -
d 1 : -
: -
1 - : -
re -
tire.
And the peep - ing
sun - beams
now,
: r
PI
:
:d :d
Ir
: - : PI
f :- :- |n :- :-
d :-
: -
|- 5-
: -
: s
S
:d>
d 1 : - : -
|-
: - : -
-:-:-!-:-:-
: pi
: n
If :-
: s
re -
tire.
re -
tire.
And the peep -
ing
: si
d
:
- : - : -
1-
- : - : - 1 - : - : -
:d
:d
1 r : -
: n
St.
Co. (New.)
246
ADDITIONAL EXKROISES. PART I.
B?.t.
- : - : - - : - t
: : s
d : - : d
ti : - : - Is : -
f :- :- v
Now paint with
gold, now
paint
-:-:-)- : - :
: : n "I, : - : 1|
8 ( : - - s, : - : -
- :- : s
now
I :- :- s :- :f
n : - : - *r : - : -
r : - : -
n : - : -
r : - : -
sun - beams now
rint with
gold, now
paint
f :- :- |n :- :r
: - : - df , : - : -
BI : - : - - : - : -
- : - : s.
now,
in:-:- r :- : - | n : - : -
r :- :- |d :- :-
t, :- :- d :- :d
with gold, now
paint with
gold the
s, : - : s, BI : - : - |- : - : -
- :- : s,
s, : - : s.
8, : - : - - : - ! i,
paint with gold,
now paint with
gold the
|d :- :- t, :- :- |s :- :-
f :- :- n :- :-
T : - : - n : - : r
with gold, now
Is,:- : s, s, : - : - |- : - : -
paint with
- : - : 81 Id, : - :d|
gold the
s, :- :f, |n, :- : f i
\ paint with gold,
now paint with
gold the
f. E?.
/d :- :- It, :- :-
da:- :- |- :- :-
: n : n f : - : s
1 :- :- \
vil lage
spire,
And the peep - ing
sun
s, :- :- |- :- : f ,
,t,:- :- 1- : - :-
:d :d
r : - : n
f :- : -
n :- :- |r :- :-
ds:- :- |- :- :-
- : - : - : :
: :
vil lage
spire,
s, : - : - Is, : - : -
.<*,,: - : - |- : - : -
:d :d d :- :d
f : -
!
And the peep - ing
sun - /
Bt?. t
/s:-:- d 1 :- :- -:-:-
- : - : -
- : - : : : 8 d : - : d \
beams, now,
now paint with
n:-:- d :- :- -:-:-
- : - : - - : - :
: n "1, : - : 1|
j : : : n : n f : - : 8
1 :- :-
8 :- :f
n : - : - lr : - : -
And the peep - ing
sun beams now
paint with
d:-:- :d:d r:-:n
f : - : - n : - : r
d : - : - 1 d f i ' -
beams,
St. Co. (New.)
ADDITIONAL EXERCISES. PART I
247
t, : - : -
gold,
I si : - : -
gold,
r : - : -
gold,
8| : - : -
/Id :- :-
is :- :- f
now pai
now,
|n : - : - r
now pai
Is, :- : - si
t, :- :- |d
nt with gold,
: - : si | 8| : - : s, s, : -
now paint with gold,
:- :- Id :- :- t, :-
nt with gold,
: - : s, | Si : - : s\ si : -
now paint with gold,
:-:d d :- : - | ti : -
:- |n :- : - r : - : -
now paint
now
:- Is :- :- f :- : -
now paint
:- 1- :- :- - :- : .,
now/
f. E7.
with
8| '. '. S|
paint with
n : - : -
gold
s, : - : - -
gold
r" : - : - n
the vil - lage
~ i| S| i ~ !~|~ I ~
the vil
:-:r n :- : - |r : -
spire,
lage spire.
: - d s : - ; _ _ : _ .
with
Id, :- :d,
gold
s, : - : f | n.
the vil - lage
: - : f i s, : - : - | s ( : -
spire.
paint with
! dolce.
s :1 .1
gold
i |f : B .s,f
the vil - lage
n .,rn: 1 | s .d 1 : t
spire,
d' :- j- :-
Sweet, *
ah sweet the
|r : n .t|
war ... bling
d .,t,d: f .f |n : r
throng,
n : 1 : .d
'
Sweet, oh
1 :
1 :
! s
sweet the war - bling
- .1,8 |f :n j
throng, the
s : - .s 1 1 : s
Sweet, oh sweet the
d : - .d |f :n
f : - .r 1 |r" .,d': d 1 .,t
d .t< :- .
Sweet,
t| |d n
oh
- - .f,n|r :d
sweet the war - bling
r : - .f |f .,n:n .,r
f :- .
war - 1
r : - .
f |n
>ling throng
r Id -
1 :
: 1 :
: 1 :
d 1 : - I -
throng,
n :- I
s :- .s |1
Sweet, oh sweet
d :- .d |f
St. Co. (New.)
:s .d 1
On the
|d :
t ; r' : r .f |n : - .n \
white emblossom'd spray, the!
I : s .d 1 (
On the!
248 ADDITIONAL EXERCISES. PART I.
/ r .f :f .r |s :
white emblossom'd spray,
: |d :d
: |f :f
On the
d .n : n .n |f :
f .s : l.t.d' |d' :t
white emblossom'd spray,
On the
t .r 1 : r .f |n : s .1
white emblossom'd spray,
ta.ta:ta.s |1 :
: | T : s
white emblossom'd spray, on the
: I : d .f
white emblossom'd spray,
n .s : BI .ta : |1| : 1 .s
Na - ture's
f .n : r .d | s, :
on the
white emblossom'd spray, /
: |n : n
n .r,d: r,n.f,s 1 1 : 1 .1
t .d'.tjd 1 .d 1 |t : t .s
Na ture's
: 1 :
u-ni - ver-sal song, Nature's
: | : f .f f n
u-ni - ver-sal song Echoes
r .n,f: n .n |r : r .t|
s .f,n:f,s.l,t|d" :
- : |- :d .d"
r 1 .1 : s . s | s :
u-ni - vor-sal song,
Nature's
: |f :f
u-ni - ver-sal song
f .n,r : d.r.n.f | s :
: 8 .n | :
: | :d .s
:d'.s |1 .t :d'.r'
echoes,
: n .d | : ti .d
to the
r' .t : s .n : r .n
Echoes, echoes to the
t .s : |n .d :
'_ echoes,
1 .t| : d .r |rT :
echoes, echoes to the
d .s, : |d .r : d .d,f
ris - ing day,
f .s : 1 .t |d' :
rhoes,
.n : |1 .f :s .1
echoes, echoes to the
: d .n |f .r : n .f
ris - ing day, echoes,
: | : d .n
d 1 :t |d' :-
ris - ing day,
n : r n : -
s : s s :
ris - ing day,
s : s, |d : -
p
n .s,f :n .n |f .!, : f .f ,n r ,r'4':t .d',r
Na - tore's n - ni - ver - sal
d .n,r:d .ta, 1 1| .d,ta,: 1| .r,d t ( .,d : r n,f
s :- .s |1
Na - ture's u
d :- .d |f
:- .1 t .s : s
ni- ver - sal
: - .r s : si
/ DS.
Id 1 :- d 1 .s : d' .s : .r',r' d 1 :t |d' : -
song, Echoes, echoes to the ris
n : d ,n,r:d .ti |d ,n,r:d .f n
ing day.
: r |n :
ing day.
: s s :
Ech - oes to the ris
s : n : f s : 1 s
song, Ech oes to the ris - ing day.
Id : d :r n :f s :si |d :
St. Co. (New.)
ADDITIONAL EXERCISES, PART 2.
NOTE. The Standard Course Exorcises, 188, 189, 191, and 192, may precede these, but it is not
essential that they should do so. For style of singing see " Hints on the Tur.ea."
KEY A?. L is F. By permission irom Anglican Hymn Book. J. Criijcr.
1 1, d
t ( n
r d
t. Id r
n f
I. Lord, in
this thy mer - cys
day, Ere it
pass for
\ P1 i ll
S6| 1|
li 1,
se,
ll t,
d d I
2. By thy
night of a - gon -
y, By thy
sup - nil . 1
|d n
n n
n
n
n s
S 1
3.By thy
tears of bit - ter
woe For Je -
ru sa - V
1, L
n, d|
r l la
n,
ll Si
d f,
4. Grant us
'neath thy wings a
place, Lest we
lose thit ]
r r
d
n d
t. 1,
li sei
ll ~ I
aye A
WAY, ON OUR
knees we fall and
pray.
Id t,
d -
S| ll
f I f i | PI| P1|
m
ca - ting
cry, By thy
wil - liny - ness to
die.
S S
n |d d
r - .d
ti ti
d
lem be -
low, Let us
not thy love fore -
g-
S ( Si
d - |d, f,
r, r, |PI n.
1
day of
grace, Ere we
shall be - hold THY
FACE.
RISE MY SOUL, ADORE THY MAKER.
KKY G. By permission from Anglican Hymn Book. D. t. G. E. Monk.
, n :f
s : r
d :r
n : t|
n 1 : 1
u -
V
l.RlSE MY
SOUL, A
DORE THY
MA - KER !
Ax - GELS
PRAISE
d :d
t, : t,
li : li
S6, t S6|
l,r :f
r :
I.Nev - er
cast me
from thy
pre - sence
Till my
soul
s :f
r : s
n : r
t, : n
" 1 : 1
s :
S.Thou the
night wast
my Pro -
tec - tor :
With me
stay
d :1,
si : s,
li : fi
HI : HI
d f if
s :
i.Ho - ly,
ho - ly,
ho - ly
Giv - er
Of all
good,
f. G.
/ t : t
d 1 :
f d : f
n : d
r :
d :
JOIN THY
LAYS;
WITH THEM
BE PAR -
TAK
EK.
n : s
n :
rl, :d
d :d
t, :-
d :-
Shall be
full
Of thy
bles - sed
es
sence.
t : t
1 :
r'l : 1
s : s
s :f
n :
All the
day,
Ev - er
my Di -
rect
or.
s : n
1 :
taf : f |
d : HI
s, :
d, :-
\ Life and
food,
REION, A -
DOR'D FOR
EV
Ell!
St. Co. (New.)
LONDON : J. CURWEN & SONS, 8 & 9 WARWICK LANE, E.O. PRICE FOURPEXCE.
R
250
ADDITIONAL EXERCISKS. PART II.
FATHER, MY SPIRIT OWNS.
KEY E (?. L is C.
" mourn," in Anglican Hymn Book, by per.
G. A. Maefarren.
: n 1 : - .n|d .r
: n
r """* i ^~
:f
1 :-.flr.n
:f
n : |
l.Fa-
ther, myepi
rit
owns
Thy
right to mine
and
me ;
:d
n : - .d | l|.t.
:d
r :- i-
: r
f : - .r 1 1|
: r
t, !
2.A -
las ! the brit
- tie
reed,
On
hu - man life
to
lean!
: 1
d 1 :-.l|n
: 1
1 :- 1-
: 1
r 1 : - .1 |f .8
: 1
t : |
3.1n
deep submis
sion,
aid
The
brok - ken heart to
lie,
:li
1, :-.l,U,
:li
f :- 1-
: r
r : - .r |r
: r
se, : | .
B>.t.
f. E?.
: n
f :f hi,
: se,
n :- |-
:d
d :t, |1,
: se (
1, :-.l,n|f
Yet
par - don hu
man
groans
From
hu - man a
go -
ny ; The eye's
:d
d : d | l|ij
: n.
n, : |
li
f i : f , 1 r,
: r\
HI :-. n it,|r
A
so - lace frail in -
deed,
'Tis
gone as soon
as
seen ! Then who
: 1
1 : 1 | lr
: t,
1, :- 1-
: n
r :r |r
: t.
d :-.ds|l
Nor,
when the stroke is
made,
To
mur - mur or
re -
ply ; Great grace
M
1, :1, l*f,
:n,
d, :- 1-
1 1m
r. : r, | f ,
: n.
1, :-.l,n|r
: 1
se : 1 |t
: n .r>d : - .1 1 se
:1
f :r |d
:t,
li - 1-
de-
sire, the soul's
deT
light, Thy wis - dom
hath seen good
to
blight.
: n
r : d |n
: t.
d :-.d|r
:d
ta, : ta, 1 1,
: se.
1, :- 1-
shall
fill the cheer
- less
void, Or stay
the
soul 'mid hopes de -
stroyed ?
: 1
t : d 1 | t
: t
1 :-.l|r
: n
f :f |n
: -.r
d :- |-
for
great -est need
be-
stow, And strong sup-
ports for deep
eat
woe.
:d
t, : 1, | se,
: se, 1, :-.l,|t,
:d
r : r |n
: n,
1, :- 1-
NEARER, MY GOD, TO THEE.
KBT F.
From Anglican Hymn Book, by per.
Henry Smart.
/d :- |d :f
n : r |s :
d : |r : r
n :|:
\.Near - tr, my
God, to thee,
Hear thou my
prayer ;
8, :- jl. :r
d :t, Id :-
d : |d : t,
d :- I- :-
2.Though the great
bat - tie rage
Hot - ly a -
round,
n : |f :1
8 : 8 | 8 :
n : - |1 : s
s : | :
3. When, my course
Jin \shtd, I
Breathe my last
breath,
d :- If, :r,
s, :-.f,)n, :
1, : f , : s,
d :- |- :
\ 4. And when thou,
Lord, once more,
Glo - rious shalt
come,
St. Co. fNmo.J
ADDITIONAL KXERCISES. PART II.
251
c. t.
1 i"l : 1 1 : t
d' :r' |n
: 1 : |d' :t 1 : | :
E'en though a
df :- |f :s
hea - vy cross, Faint - ing, I bear,
s :f |n : f : in :-.rd : | :
Still where my
8 d' i | r' ; r
Ent - 'ring the
df :- |r :s.f
cap - tain fights Let me
s : 1 .t|d : t 1 : |1
be found ;
: se 1 : | :
of death ;
sha - dow - y
n : r |d
Val - ley
: r : |n
Oh! for a
dwell -ing place. In thy bright home !
f. F.
d 1 :- |f
: n 1
r 1
: r 1 |d' :
J n : 1 1 : s
Still all
n :- |f
Through toils
my
: s
and
there
: n
prayer
strife
d'
shall
f
shall be,
: s .f n :
Near - er, my
'd :- |d :t,
Near - er, my
*d : |f .n : r
to be
I be
:s d :-
E - - ven
1 :- |r
Near - er, my
THROUGH ALL
B -
TER -
NI - TY
Near - r, my
f :f |n
:
r
: |d :t|
d : _ |- : _
God, TO THBB,
li : ti .1| I se ( :
Near
1|
Near
1.
er to
: s, : s,
er to
: f n : r
thee.
thee.
thee.
d :- | :
God, TO THEE,
r : r 1 1| :
God, TO THEE,
Near
f.
er to
: s, : s.
God, TO THEE,
Near
er to
thee.
THE GIPSY'S . TENT.
KBY A. M. 120.
Allegro Vivace.
mf SOLO S. or T.
i : d : r
Bohemian Air arranged by W. H. Birch.
(By permission.)
n : - .r : d s t : d : m r '. :
Eight measure*
I.We live so
2. Come to our
:d :d
mer - ry, so hap - py and free,
green - wood home and blithe some be,
:d :d :d :d :r :r
La, la.
: s, :s.
: S| : s, : si : si : 1| : 1|
Symphony.
: n : n
:n :n :n:n :f:f
d.
: :
d, : : d, : : f, : :
La.
la.
St. Co. (New).
O.N. edition W. H. BIRCH, London Street, Reading.
252
ADMTIOXA.L EXERCISES. PART IT.
Dane -ing and
In the wild
:r :r
sing - ing be -
woods to roam
:r :r
neath the oak-
light - ly and
ir : t|
tree.
free.
:d :d
: : \
CHORUS, ff
S| :d :r
We live so
:li :1|
:li :1|
:li is.
is, :s,
HI :si is.
:f :f
r, : :
r, : :
:f :r
:n :n
d : :
d :d :t,
Come to our
d| :HI :S| ,
, n : - .r :d
mer - ry, so
It, :-.f,:n,
yd : - .ti : d
si : d : n
hap - py and
HI : S| : HI
d :d : d
free,
fi :- :-
1. :- :-
1, :r :f
Dan - cing and
f . : fi : li
r : 1, : r
1 :-.s :f
sing - ing be
fi :-.S|:l,
f : - .n : r
f green - wood home
Id :-.s, :d
and blithe - some
di : HI : d|
be,
f i : - : -
In the wild
f , : f , : f ,
woods to roam
f, :-.f.:f,
/ * *
: :
E. t.
r s :d> : r 1
Come to our
We'll tell your
d ] : - . t : t
for - est home,
for - tunes young
I : s : /
hap - py and
maid - en quite
f : 1, : t,
neath the oak
1, : f i : f.
d.
tree,
n, : :
: t|H : n
:,d :d
:f :f
: r : r
: r : r
: s, : si
r : r : r
light - ly and
\ r, : ri : s.
d :- :-
free.
d, : - : -
: r s : s
: s : s
s, : :
: s : s
t, : :
/ n : :
bright. '
true;
s : rf 1 : - .d
List to oui
And pro - mise
r } : d 1 : I
sweet songs they'l
al - so fond
s ./ : n : - .r
make your hearts
lovers for
d :- :-
light. ]
you.
n : n
: n : n
r r
n f
n :
d :d
:d :d
d d
d t|
d :- -
s : s
: s : s
1 1
s s
S ~~~ *"
d :
d : :
f.
8|
Id, ; - -\
s d 1 : r 1
d 1 :-.t : t
1 s f
n
s :d> -.d
Come to our
n n : n
for - est home,
f :-.f :f
hap - py and
t, r t|
bright,
d -
List to our
d :d -.d
s s : s
s : - .s : s
s s s
S ~ ~
n ; n n
We'll tell vour
d d ;. d
for - tunes young
s : - .s : s
maid en quite
S| t| S,
true,
d
And pro - mise
d :d d
St.
ADDITIONAL EXERCISES. PART II.
f. A. ff
r 1 : d 1 : 1
s : 1 : -.t
d 1 : - : -
d s ( : d : r
n . - .r : d
\vect songs they'll
make your hearts
d :d :-.r
light.
d : :
We live so
l,n, : s, : s.
mer - ry, so
si :-.f,:m,
f :f :f
n : s : - .f
n : :
f d : d : t,
d :-.t,:d
al - so fond
f , : f i : f i
lov - ers for
you.
d : :
We live so
mer - ry, so
d : - .s,: d ,
s, : d : n
r : :
1, : r : f
1 :-.s:f
f : 1, : t,
hap - py and
n, : si : HI
free,
_
i
Dan - cing and
f. f .i
i ii : li
sing 1 - ing be -
fi
i . - .S|: i|
neath the oak 1
d :d :d
1, : :
r : 1| : r
f : - .n : r
r : r : r
hap - py and
\ di : n, : d,
free,
f, :- :-
Dan - cing and
fi : f . : f i
sing - ing be -
neath the oak 1
r, : r ( : s, j
SOLO C. or B.
d :- :-
n\ '. l\ '. t\
Taste of our
Come, where the
: 1. : li
d '. . t\ \ l\
Gip - sy fare,
song - thrush and
: li : li
n\ : l t : d
whole -some and
lin - net holds
: 1. : 1,
plain,
sway,
: t, : t, (
tree.
' HI : ri|
: n, : n,
i HI r HI
:f, :f, |
d : - :
:d :d
:d :d
:d :d
:r :r
d, :- :-
1, : :
1, : :
li : :
r, : : /
t\ :r in
/ : - .n, : r
n : d : t\
l\ '. : n\
n\ '. l\ '. t\
And if you
Come where they
like it then
war - ble their
pray come a -
well tun - ed
gain. With
lay, Oh
rich foam - ing
come with a
t ( :t,
: t| : r
: d : t.
: 1, : 1,
: 1, : li
fi :f,
: f, : 1.
: 1, : sei
: pi| : ri|
: ri| : rij
r : r
:r :f
: n : r
:d :d
:d :d
ri :
n : :
HI i : HI
1, : :
1, : :
Id - .t\:l\
ale in large
light - some heart,
n : - .r : d
bum - pers of
cheer - ful and
horn, We'll
gay, We'll
f\ ' t\ ' T
toast our brown
sing, feast, and
/ : - . : r \
beau - ties till '
dance till the
li : 1|
: li : li
: t, : t (
: t, : t,
: t, : r
n, : HI
'. Pll ' Pit
: f , : f ,
: f , : f ,
: f i : t/
d :d
* d '. d
: r r
: r : r
:r :f
1, :
If : :
n : :
r, : :
r, : : /
St. Co. (New.)
254 ADDITIONAL EXERCISES. PART II.
n :d :-.t
h :-
:
8
dawn's the bright
close of the
: d i t|
morn,
day.
li :-
.
ff
si : d
: r
n : - .r : d
H
:d :
: 1, : sei
1, :-
:
We live so
Pll : S, : s.
mer - ry, i-o
hap - py
n, : 5, :
: n : j"
n :
d :-
:Z|
d :d
:t,
d :-.t,:d
d
:d :
. n, : :*
1. :-
:
We live so
d| \ HI 1 S|
mer - ry, so
d : - .s,: d
hap - py
d, : n, :
r : :
I, : r
:f
1 :-
.s :f
f : 1 : t,
d
; ;
free,
f, :- :-
Dan - cing
fi :fi
and
1|
sing -
f 1 ' ~
ing be -
.8, : 1|
neath the oak
1. : fi : fi
tree.
HI : :
1, : - : -
r : 1|
: r
f :-
.n : r
r : r : r
d
: :
free,
f. :- :-
Dan - cing
f. :fi
and
sing -
fi :-
ing be -
f, f,
neath the oak
1'; ' T\ '. S,
tree.
d :- :
8 :f :-
f :n
:
r : 1
: s.f
n : : n
f
: s :
Gai - ly,
1, : 1, : -
hap - py,
si : a.
;
jol - ly and
free, No
d :- :d
life e -
d :d :
d :d :
d :d
:
s : s
: s
s :- :d
d
:d :
Gai - ly,
f . : f , : -
hap - py,
s : si
:
jol - ly and
s, : f : n .r
free, No
d : : tai
life e -
li = 8) :
8 :- :d.r
ours 'neath the
d :-:!.!,
n :f
: r
oak
d :-
tree.
d :-
'. ~~
s :f :
Gai - ly,
1, : 1. : -
f :n :
hap - py,
s, : a, :
old
d :
d :- :n.f
s :
:f
n : -
- :
d :d :-
d
:d :
ours 'neath the
n, : : li.li
old
i :
oak
: si
tree.
d :-
;
Gai - ly,
hap - py,
8| : S| :
rail.
T :1 :_. n : - :{J
d 1 : t ) . ,
f :s J- l
adagio. .
s : : d .r n : f : r
d :-
jol - ly and free, No
ti : t| : t| d : : d
life e - quals
d :d :d
ours 'neath the old oak
d : : m.f| s, : 1 ( : f
tree.
n, :
: 8 : 8 8 : : d
d :d :d
d : : d .d d T^ : t,
d :-
jol - ly and free, No
life e - quals
ours 'neath the old oak
tree.
si : f : n.r d : : ta (
li : si : f ,
R, : - : 1..1, s, : - :[j' j
d :-
St. Co. (New.;
"
ADDIliONAL EXERCISES. PART 11.
255
HARVEST HOME.'
KEY D. M. 80, twice
f
Is : s |d" :
Har - vest home,
n : n |n :
Chorus from
har - vest home,
f :f |f :
' Helvellyn."
t : d 1 | r 1 : t
G. A. Macfarren.
har - - vest
f :- |- :f
home,
1 d 1 :d' Is :-
Har - vest home,
\ d :d |d :-
har - vest home,
d :d |d :
r 1 : d 1 It : s
d 1 : |- :
home,
d' : - |- :
har - - vest
d :- |- :d
s :s 1? :
Har - vest home,
n : n |s :
har - vest home,
f :f |f :-
t :d' |r' :t
P
d 1 : - | : d 1
home. We
n : | : s
har - - vest
f :- |- :f
d 1 :d' Id 1 :-
Har - vest home,
d :d |n :-
har - vest home,
f :f |1 :-
r 1 : d 1 |t : r 1
d 1 :s |s :-
home. We come, We
d : | : n
har - - vest
s : | : s
t :1 Is :l.f
come, we come, And we
f :n |r : f .r
: | : s .s
come, we come, And we
r : d 1 1| : S|.S|
n : s | d 1 :
bring the last
d : n |s :
s : s js :
bring the last
d : d |n :
t :d'.l|s : 1 .f
load of our gol - den
f : s .n |r : f .r
s : s .s | s : t
load of our gol - den
r : n .d| t| : s.
f :- |n :
grain.
r :- |d : i
t : - | d 1 : i
grain.
d :- |- :
A. t.
cres.
r :-.r|t| : - .ti
n : - .n|d : - .d
f :- 1 :
Loud - ly shout,
: hi. :-.!,
loud - ly shout, a-
gain, a- gain, a-
gain. ff
d :- |d :-.d
Loud - ly
: |dif :-.f
shout, loud - ly
r : | s : - . s
shout, a- gain, a-
n : - .n| 1 : - .1
gain. Har - vest
f :- 1 :
Loud - ly
: |df, :-.f
shout, loud - ly
fi :- Is, :-.s.
shout, a- gain, a-
gain.
1, :- 1 :
f
: |n : - .r
s : , :
, : In :-.r
s : | :
Har - vest
d :- |- :
home,
har - vest
d :- i- :-
home,
- :- |d :-.d
home,
: |s :-.!
Har - vest
S ~~ |
home,
: is :-.!
loud - ly
s : | :
Har - vest
: Is, :-.f
home, har - vest
home,
n, : | :
8t. Co. fNewJ.
250
ADDITIONAL EXERCISES. PART II.
f. D.
: : Id :-.r
Loud - ly
Id :- |d :-.d
\ shout,
: |n :-.f
' Loud - ly
: Hi :-.!,
/ : ' :
shout,
d :!-:
shout,
s, :- 1- :-
dolce.
: | :*s
r :- |- :-.d
har - - vest
t, :- |- :- .d
f :- |- :-.n
bar - - vest
s, :- |- :-.d
s :- |l.t:d'.r'
d :- 1 :
home.
d :- 1 : ,
n : | :d s
home. The
d :~ 1 :*,i, )
n 1 : d 1 |s : 1 .
: 1 :
The
The
: | :ds
fields
board
once more have
will groan with
n : n |n : n
f : s |f : s
fields once more have
board will groan with
\ t, : si |t, : s,
,8 :- |r :1
n : s |n : s
boun - teous been, O'er
Eng - lish cheer, In
d : s, | d : s,
8 : | n
r : s |r : s
them the wa - vy
hon - our of the
r : s, | r : s,
s : |l.t:d'.r
n : s | n : s
wealth was seen, The
fall - ing year, The
d :si |u : S|
n 1 :f>.n'|r'.di:t.l
liinm - teous
Eng - - lish
r :- |- :f
been,
cheer,
n :- |d :
O'er them the
lion - 'ring the
f :- |f :f
wa - - vy
bravo de -
n : | : n
f :s |f :s
fields once moro have
board will groan with
t| : S| |t| : S,
n : s | n : s
boun -teous been, O'er
Eng - lish cheer, In
d : s | d : s,
r : s |r : s
them the wa - vy
hon - our of the
r : s, |r : s.
n : s | n : s
wealthwas seen, O'er
fall - ing year, In
d : BI |d : s (
/ 8 : |r : 1
f. G.
8 : Hi : f
cres.
n : 1 1, : f
now they are
thus has en -
ti :- It, :r
r : n |r : n
now they've lost their
thus h:is shed its
se, : n, | se, : n.
n : |d : 1
robb'd of their
rich'd us with
d :- |1, :d
d : n |d : n
am - pic store,they've
gold - en store, has /
1, : n. i 1| : HI /
wealth was
din ing
r : 1 :f
f :s |f :s
them the wa - vy
hon - our of the
t, : s, | t-i : s.
seen, But
year, Which
n : 1*8, : t,
n : s Hi : r
wealthwas seen, Hut
fall - ing year, Which
d : s, |*i : r.
St. Co. (New.)
ADDITIONAL EXERCISES. PART II
257
/
s :- |r :1
s : |n : - .d
s :- |- :-
- :- |n :-.dv
am - - pie
store. Shout once
more,
shout once
gold - - en
store.
r :- |- :f
n : |n : - .d
s :- |- :-
: |n : - .d
f :s |f : s
n :- I :
In :-.d
s : 1 :
lost their am - pie
store.
Loud - ly
shout,
shed its gold - en
store.
t| : S| |ti : si
d :- | :
: 1 :
: 1 :
D. t.
piu ores.
/ i i i
i a
. i
a . _ i _, i
r |
. i
1
s . .
more,
i
1
once
d' ':- It i-,s
1
f | i
L
I
S ~~"* ~"~ t ~~~~
S J ~~" "^
loud - ly
shout, loud - ly
shout,
once
: 1 :
: |!|r : - .s (
S ~~" \ ~~ ~"~
s : | : /
1 poco rit.
ff a tempo. -^
s : |s :
S* -__ 1 O
\ a
s : s |d" :
1 :1 Iff :
more, shout
once more,
Har - vest home,
har - vest home,
S" \ Q '
| 9
s : | s :
n : n | s :
f :f f :-
s : |s :
s : | s :
d 1 :d' ;d' :
d 1 rd 1 |d' :
more, shout
once more,
Har - vest home,
har - vest home,
s : | s :
s : | s :
d :d |n :
f :f |1 :- /
t : d 1 | r 1 : t
1 :- Is :
S* c 1 f\ 1
t | U
r' :r' n' :- \
har - - vest
home,
Har - vest home,
har - vest home,
f : |- :f
n :- I- :
n : n |n :
1 :1 |se :-
r' :d' |t :r>
d' :- |- :
d 1 : d 1 'd 1 :
1 :1 It :-
har - - vest
home,
Har - vest home,
har - vest home,
s : | : s
d 1 :- 1- :
d 1 : d 1 1 1 :
f :f |n :
rf
.
i fi :-|-:-
t :- |- :-.d'
d 1
U .
har
vest
home.
1 : | '.
s : | : - .s
S . ~~ i ~ ~
T-l 1
1 .
f 1 : | :-.n
n 1 :|:
har
vest
home.
r I
r . |
s : | :-.d
d : ( :
St. Co. (New),
258
ADDITIONAL EXERCISES. PART II.
Wore
G
K
/ .n 1
l.A-
.8
.s for this work
eorge Bennett.
BY C. Alia Mi
n* :.d'.l
way to the
s :s .f
by AWA
\rcia.
s : d 1 .s s
for - est, fair >
n : n .n f
Y TO THE FORI
: r 1 .s s : -
a - ture in -vites,
:f .f PI :-
]ST.
.s i? :d'.l
With fra - grance an
.n s : s .f
Music by
Franz Abt.
s : d'.n '
i beau - ty and
PI : n ,n
.d 1
3.We'll
.d
d' : d 1 .d'
sit. on a
d : n .f
d 1 :d'.d' d
.,t : 1 .t d' : -
.d 1 d 1 :d .d 1
The lov'd and th
.d d :n .f
d' :d'.d'
e lov - ing our
d :d.l,
moss - bank and sp
8 : 8 .8 S
read out our fare,
: s .s d : -
fe
.,8 : 1 .r 1 s
poco rit.
: .s s : s .s s : s .s t ..d 1 : r 1 .n 1
* :- f V
down, And
s : - .s
r' : - .r 1
syl
r
d 1
- vande- lights; The sun in its splendour shines lov - ing-ly
: r .fe s : .s t, .,d : r .n n .f :t,.s s :s .s
: d 1 .d 1 t
: .s s
: s .s s : s .s s .,1 : t .d 1
dain - ties shall share ; We'll troll
r .,n:fe.r 8 : .s s, .,
the gay car - ol or tune - ful quar
li: t, .d de.r : S| .s 8 : s .s
-tet, Our
8 : - .8
d'.de'rr'.ni
a tempo. >
PI 1 1 Pi' .PI 1 PI 1
-"
:1 .r 1 ITI
t : 1 .s s : - .n f ^s~Tl .t
glad - ly we'll has - ten from ci
s : 8 .B 8 : f .f f
d 1 : t .ta 1 : 1 .1 8 .,
ty and town, ^
:f .f n : - .t
r'id'.t d 1 :- .r
day for- get, i
: s .8 d : - .c
rit.
'. : '5? S
la la!
s .fe.l : s .d' t
ind glad - ly we'll
I r .,Pi:f .f
has - ten from
s . ta : 1 .1
i f .,s : 1 s
s .n 1 : r 1 .de 1
cares and our tro
d :d .d de
f : 1 .t
ci - ty and
1 :f .f
u - bles for ONE
: r .r 8
d 1 :
town. f
PI : .d,n
)ur cares and our
I r .,n : f .r
trou - bles for
n .s : f .n
rit.
PP la
: .d,n s ,fe,i : s .d 1 ,
r 1
ONE
\ r
day for-
: r .s,
Trala
d 1 : .d,n
get. Trala
d : .d,n
la la la la la la!
B .fe,l : s .d 1 s
la la la la la la
s .fe,l : s .s s
Trala la la la la la
: .d,n s .fe.l : s .d 1
Trala la la la la la
: .d,n s .fe,l : s .s
?
: .s
-^ a tempo. , .
d 1 :d' .d 1
? : 1 .r 1 a
: 1 .t
d 1 :^ .
la!
t
And
: .s
glad - ly we
n : f .s
11 has - ten from c
1 :f .f p
i - ty and
i :f .f
town.
n :
I 1
: .s
d' :d' .d 1
d' :d' .r' d
|i : s .s
s :
la!
8
Our
: .s
cares and 01
d : r .n
ir trou - bles for <
f :f .r a
>NB day for -
: s .si
get.
d , .
8t. Co. (Nrv>.)
ADDITIONAL EXERCISES. PART II.
- ^-
.1
8 : d 1 .
8 8
: r 1 .
ss : -
.s n' : d .1
s :d'.n
2. We'll
hie through the
for - est with laugh - ter
and shout,
Its glades and its
olois - ters we'll
.8
s : s
.f
n : n .
n f
:f .
f n :-
.n s : s .f
n : n .n
.d 1
d' :d'
.d 1
d 1 : d 1 .
d 1 d 1
,1:1.
t d 1 :-
.d d 1 :d.d
d 1 :d'.d'
4.A-
way to
the
for - est,
a - way and a - way,
Our hoi - i - daj
' bright - ens a
.d
d : n
.f
s : s .
S S
: s .
s d :-
.d d :n.f
d :d.l,
poco rit.
P
-<r
~= == ^1. f f
fe
,s : 1 .r 1
8 : .s
S
r? .s
s : s .s
t ^diTF .n
f : - .f
wan - dera -
bout ; While
gold -beams are
glint - ing o'er pil - lar and
arch, We'll
r
:r .fe
s : .s
t| .,d
: r .n
n .f : t .s
s : s .s
s : - .s
d 1
: d' .d 1
t : .s
S
: s .s
s : s .s
s .,1 : t .d 1
r' :- .r 1
" red - let-ter
day!" This
life
has not
man - y, then wel - come the
few, With
r
,n : fe.r
s : .s
8, .,1
: t, .d
de.r : s, .s
s : s .s
s : - .s
atempo . > : - <^:
n 1
: n 1 .n 1
n 1 : 1 .r 1
d 1 .,t
: 1 .s
s : - .n
f .,8 : 1 .1
d'.de 1 : r 1 .n 1 ,
roam 'neath the
sha - dows of
lin -
den and
larch, We'll roam 'neath the
sha - dows of 1
S
: s .s
8 :f .f
f
:f .f
n : - .d
r ..n : f .f
s .ta: 1 .1 /
d 1
: t .ta
1 :1 .1
s ,,r'
:d'.t
d' : - .n
f .,s : 1 .s
s .n 1 : r 1 .de 1
souls that are
grate - ful, and
hearts
that are
true, With souls that are
grate - ful, and
d
:d .d
de : r .r
S
: s .s
d : - .d r .,n : f .r
n .8 : f .n
\
rit.
rit.
f
y> Q
PP
i fi
:1 .
t
d' :
: .n 1 r 1
: : .n 1
lin
den
and
larch.
la la!
la
1
:f .
f
n :
.d,n
3 .fe,l
: s .d 1 t
: .d,n s .fe,l : s .d 1
Trala
la la la la la la!
Trala la la la la la
r 1
: r 1
r 1
d' * :
.d,n
s .fe,l
: s .d" s 1
: .d,n s .fe,l : s .d 1
hearts that
are
true.
Trala
la la la la la la !
Trala la la la la la
r
: r .
l
d :
.d,Pl
s .fe,l
: s .s s
: .d,n s .fe,l : s .s
a tempo.
^ / r> i*
r 1
:
S
d 1 :c
I 1 .d 1
&
: 1 .r
s : 1 .t
d 1 :
la!
We'll
roam 'neath th
e sha
dows of
lin - den and
larch .
t
:
S
n : f .s
1
:f .f
T :f .f
n :
S 1
;
.s
d 1 n
I 1 .d 1
d 1
: d 1 .r
i 1 : s .s
s :
la!
Witt
souls that are
grate
- ful and
hearts that are
true.
8
:
.s
d : r .n
f
:f .r
s : s .S|
d :
St. Co. (New.)
260
ADDITIONAL EXERCISES. - PART II.
SUNSHINE AFTER RAIN.
KEY Bt? Firmly and in moderate time. (Copyright.) Henry Lanet.
mf -=c^ !> -=^m in>- F. t. --
/ ; .8)
d . S| : n .r,d
d : s, .s,
n .d : s .f,n
r s .s : d 1 \
I.I
left my love in
Eng - land, In
pov-er - ty and
pain/L'he tears
: .n.
s, .n, : s, .f,
n, : s, .f.
Hi .f, : 8| .1|
t _ J
l in . - .a
2.1
left my love in
Eiig - land, And
sailed the stormy
sea, To
: .d
d .d : d .t|
d .d : d .d
*|H : - .s
3.1
sought my love in
Eng - land. Ami
brought her o'er the
sea ; A
: .d,
n, .(i : S| .s,
1, .s,,fi: HI .TI
d| .I") : H| .f.
8 ,d - .n 1
^=CT ^==- f. Bt>. p -=:
1 . s,f : n .s
s . f ,n : n . r
da, :- .si
li .1| : 1| .ti,d
;>. hung hea- vy
iu my eyes, But
hers came down like
rain. I
gave her half of
2.1
wrought & strove from
f .f :f .f
f .n,r : d .ta.
li .r,d:t ( .ti
l| ) : Si
:fe,
rl gave
her
earn my bread by
dai- ly toil, An
hon-est man and
frco.JI wrought
and
(My farm
is
f .jn : i .t|
d .r : n .d
d .1 :s .f
m t, ; - ,t|
d .d :d .d
hap - py man, a
hap-py wife, To
bless my homo and
me. My
farm is large,my
r .,d : t, .81
1, .t, :d .n,
f, .r, : S| .BI
d si . S| : s,
~-~" * ~~~
r .t, : s, .s
<:
li .1| : 1| .t|,n
r : - .si
n .n : n .r,d
d .d : d .r.n
all I had, Rc-
press'dthcris - ing
sigh, For,
thinking of the
days to come, I
moni till night, And
Biiv'd my lit - tie
store ;
f i : - .n,,r,
de, : d|
d, :t. .s,
S| .86) : 1| .HI
n, .HI : f, . f (
half of
all I
had, )
strove from
morn till
night, And
ev -'ry sum-mor
gave me wealth,And
large, my
wants are
small, )
d .ti.l,: ti .s
8 :- .fe
f :- .f
n .r :d .t (
d .tai : I, .s.
wants arc small,!
bid (my care) de-
part ; And
sit be - neath my
own oak tree, With
:
:
:- .li.t
d .t, : 1| .sei
1, .8, : f , .n,
i
^^~~
cen - do. ^ f~^
f . r,n : f . r,n
f : s .,f
n,f .r,n : d .r
tii*-. i *
,,Q . 1 ,T . 8| lift*)
d .d :f,-s.n,-f.
kept my cour-age
high. "0! fare-
well," I said," if
sea - sons pass, And
sun- shine fol - lows
fi .si : 1, .la,
i : s, .,s,
BI .t, : d .fei
si .fe, : s, .s,
s, .81 :BI .s (
made the lit - tie
more. Oh ! at
length I bought the
6eld I ploughed,The
sun- shine fol-lowed
f ( .f : f .n
r : t, .,t,
d .f :n .r
r .d : t, .r
d .n :r .d
proud,yet grate-ful
heart. Oh', the
children smil- ing
round the board, Ne'er
ask for broad in
TI .r : r .d
ti : s, .,s.
d .s, : 1| .r.
S; .TI : S| .f|
HI .n :tj .d ,
St. Co. (Xew.)
ADDITIONAL EXERCISES. PART II.
2G1
ff-
.r
ram,
And
*l
: s.
rain ;
d .ti
The
:d .,r
vain ;
The
s,
: 1, .,t.
n,f .r,n : d .r
morning dawns on
Si ,t, : d .fe,
n .f :n .r
day has dawn'd up
d ,s, : 1, .r,
M-J.^
darkest night, You'll
.fe, : s
morning dawn'don that dark night,And
.d
.t,
-on the night,The
.r, : si .f|
s .f,n:n .r,d
see me back a -
I went back a -
d .d :d .t,
sun has fol-lowed
n ( .d| : si .si
gam.
PI,
gain.
Words by IF I HAD BUT TWO LITTLE WINGS. Music by
Coleridge. (COPYRIGHT.) Henry Smart.
f) KEY E7. Con moto. M. 88. cres. ^,
: s
s : - .s | n : s
d 1 : -= .n | n : n
n : - .n | d : PI
1 : -.r | r : r
If
: n
I had but two
n : - .n | d : n
lit - tie wings, And
n : - .d | d : d
were a lit - tie
d :-.d|l, :d
feath - 'ry bird, To
d : -.d | d : d
: s
s : - .s | s : s
1 :-.l|l :1
1 :-.l|n :1
r : -.1 1 1 : 1
If
:d
I had but two
d : - .d | d : d
lit - tie wings, And
li : - .1,1 1| : I,
were a lit - tie
feath - 'ry bird, To
f e, : -.f e| f e : f e
r :f |1 :-.s
you I'd fly, my
t, :t, |f :-.n
s : s ! r : s
you I'd fly, my
f : r 1 1, : si
f :n Id 1 :-.t
dear, To you, to
r : d |n : - .r
s : | : se
dear, To
d : | : n
1 : n 1 1 : - .1
you I'd fly, my
d : n | r : - .d
1 :d' |fe :-.fe
you I'd fly, my
1 | R . .
I . | b .
dear.
d :- It, :
f e : - | s :
dear. f)
r : |s, : s.
But
I :t
But
* IT
I :s
But
t, :r |f :f
thoughts like these are
St. Co. (New.J
_>. cres. ^>
dim.
r 1 : - ,d'| d 1 : n
s : d 1 |n' : - .d 1 t
: - .1 1 1 : s \
thoughts like these, but
s : - .s | s : d
thoughts like these are i
n . : s |s : s d
die things,and
t '. ,d'| d' i s
d 1 :s jd 1 :-.s s
:- .f |f : s
thoughts like these, but
f : - .n|n :
thoughts like these are i
- :n |d :n f
die things.and
:-.f|f :n
i - die things,
like these are | i
dlethings,and
2G2
ADDITIONAL EXERCISES. PART II.
poeo ritard.
8 :- If :-
n :- |- :f
n : | : r
d. _
8
I stay
here, and
I stay here,
But
r :- |r :-
d :r |d :r
d : 1 1| :
d : |
n
I stay
here, and I, and
I stay
here,
1 :- It :-
s : se | 1 :
s :):
S \ "~ j ~~"
s
I stay
here, and I
stay
here,
But
r :- Is, :-
d :n, Hi :f,
As :f
S| Sj \\ .
n : 1 )
d : | J
d
I stay
here, and I stay here, And I stay
here,
cret. >
s : - .s |n : s
d' : - .n|n : n
n : - .n| d : n
1 :-.r|r
r '
in my sleep to
n : - .n|d : n
you I'd fly ; I'm
n : - .d | d : d
al - ways with you
d :-.d|l, :d
in my sleep
d :-.d|d
The
d
s : - . s | s : s
1 :-.!!! : 1
1 :-.l|n :1
r :-.l|l
1
in my sleep to
you I'd fly ; I'm
al - ways with you
in my sleep
The
d :-.djd :d
'' : "- 1J1 ' :1 '
1. :-.li|li : s, fe, :-.fe|fe :
fe /
r~rrrFf-.. :
FT; isr : -.t
1 :n |t :-.!
FT^I,
,
world is all one's
own, The world, the
world is all one's
own,
t, :t| |f :-.n
r : d |n : - .r
d : n | r : - .d
d : It,
s : s |r : s
8 : 1 : se
1 :d' |fe :-.fe
fe :- |8 :
world is all one's
own, The
world is all one's
own.
P
f ; r | t| i s,
d : I : n
li : 1| |r : -.r
r :- |8, .
But
^>. cret. -^.
: | :t
r 1 : - ,d'| d 1 : n
8 : d 1 | n 1 : - .d
t : - .11 1 :
s \
But
then one wakes, but
then one wakes, And
where am I P
All,
I : r
s : - .s |s : d
n : s |s : - .8
s :-.f|f :
d
: | : s
t : - .d'|d' : s
d 1 :s |d' :-.d'
d' :-.d'|d' :
s
=- __^I "" But
then one wakes,but
then one wakes, And
where am I P
All,
t, :r |f -f
f : - .n|n :
: n d : n
f :-.f|f :
n
then one wakes, and
where am I P
One wakes, And
where am I P
All /
St. Co. (New.)
ADDITIONAL EXERCISES. PART II.
263
ooco ritard.
dim,
s :- |- :f
n : | :f
n : - | : r
d :- -
B^.t.
"1,
all a -
r :- |r :-
lone, All,
d :r |d :r
all a -
d :- |t, :
lone,
d :- -
Sleep
8 id,
1 :- It :-
all, all a -
s : se | 1 : 1
lone, a
s : I : s
lone.
S ~ " "* *
ml,
all a
r : | s, :
lone, all, all a -
di i f
, P)| | 1| f Xj
lone, all, all a -
(Sj : s, | s : f
(BI : j : si
lone.
n :- -?
d :- -5
Sleep
d f|
\ all a
lone, all, all a -
lone, a -
lone.
/ TI : Si | s, : - .d
>
d : - itj| ti : l|.s,
ores.
n : - .r |d : t|
r : d s
r i
:f
stays not though a
r, :n, | s, : -- .s.
mon - arch bids; Sol
love to wake e'er
ri| : - ,f|| I, : set
break of day
t| : i| 1,
, For
t, : d | d : - .s,
Si :-.s,|si : l,.t|
d : - .t,|n : n
n in n
: r
stays not though a
fi : ni |ni : - .ni
mon - arch bids; Sol
love to wake e'er
d, :-.r,|n, :n\
break of day ; For
li : li f. : f,
/ n : - .d|n : r
though my sleep be
d : - ,s,| d : t.
gone, For
d : n, | d : se,
li : 1( | d ,t, : li.t
though my sleep be
1. :fi If, :fi
f. EP.
gone,
m iti : - -
: v
: s
s : - .n| s : f
For though my
n : d |n : r
sleep, my sleep be
d :r |r :r
gone,
yet
: t
though my sleep be
si :-.s,|s, : si
gone, For though my
sleep, my sleep be
f i '. Y\ \8\ '. S|
gone,
d s, : r s
yet
For
though my sleep be
gone, yet while /
/ : 1 :1
s :-.f|f :
'^rF'Td 1 :t
1 : - .s s
:-.l\
yet
while 'tis dark,
'tis dark one
shuts one's lids, And
f : n | r : de
r : - .rfr i - .d
d : t, | 1, : s,
r : - .n|n
:d
while 'tis dark one
d> : t |1 : s
shuts one' s lids, yet
1 :-.l|r :-
while 'tis dark one
r :f |r' : r'
shuts one' s lids, And
t ', .d | d' '. s
while 'tis dark one
1 :s |f :n
shuts one's lids,
r :d |t, : 1,
while 'tis dark one
BI :- If :-
shuts one's lids, And
f : - .n |n : n
while 'tis dark one
shuts one's lids, one
shuts, one
shuts one's lids, And
St. Co. (New.)
264
ADDITIONAL EXERCISES. PART II.
dim.
poco ritard.
s :- If :-
n :- 1- :f
n : | : r
d :- !-
still dreams
r :- |r :-
on, And
d :r |d :r
still dreams
d :- |t, :-
on.
d :- f-
still dreams
1 :- It :-
on, and still, . and
s : se 1 1 :
still dreams
s :- |- :-
on.
s :- 1-
still dreams
r : | si :
on, and still
d :n, |1| :f,
dreams
- '* ft, is,
on.
n : |
d :- |-
still dreams
on, and still dreams
on, and still dreams
on.
Words by
Geo. Bennett. (Arranged
KXY D. Sostenuto con express ione.
SOLO CONTRALTO.
: ' .*i : i .i | d
f>
n :
Hm, &c.
d :
Hm, &c.
d :
1. As sweet to wea
2. Blestangol, dark
ffiL OF HOPE. Music by
ixed voices oy ALFRED STONE.) O. Reichardl.
- .d \d : r ,n
* ./ : / | . r : r . r
ry hearts as
were life with-
slum - ber, And brooding
out thee, To prince &
| '
r :- |- :-
1 .
ti :- I- :-
| :
s :- J- :-
- 1- :~
s, :- I- :-
m id
1 1( :
r
<i
gent - ly
as
the
do
pea - bant
thou
art
dei
cres.
V
n :
Ir :
d :-
1
t|
Hm, &c.
s :
11 :
8
d : n
If :
fe
S
: | .:#.
When earth's low-
N or ago nor
s : t .1 | s ./ : n .r
press - ing carea en -
youth can ev - er
f :- I- :-
ti : I :
s
r.d id
cum - ber,
doubt theo,
8 * ~~
St. Co. (New.J
/ ,d : r .n
Bright Hope comes
Thy radiant
r : - . r \ $ :
mis - sion'd from
pres - ence all
ores,
r : - | f e :
t .1
a-
must
s : ~~ . s '.8 . s d
:-.*!* : / .* \
bove. Where gloom'd the cloud, a glo - ry
cheer. Sweet Seraph, who, when E - den's
- :
t, :- |d :
Hm, &c.
s : 1 1 :
r : I :
ti : d | r : f n
i
I
:- jde> :-
: 11 :-
s : 1 |t : r 1 d 1
s, :- 1 :
/ ./:/ 1
./: s .1
wept, ther
scenes so
S
eglad
fair
- ness
and
n : | . i : s\.s\
smiles ; While trusting
bright, Still deign'd to
d ,r : n ,r \ d ,m : s >ta\
brightens. Where sorrow
por - tals Shut in those
faith the spi - rit
so - lace fal - len
1 :- I-
- :
s :-
-
:
s : | :
s : | :
f :- 1-
- :
f :-
:
n : i :
n : | :
Hm, &c.
r 1 : |-
r :- |-
- :
r' :-
s :
-
:
d' :- |- :-
d :- i- :-
cl : '. /
ta.l : I \
.1:1 . 1
$.8 : n ,d\ s\
: n .r
d :- \ :
guiles,
light.
f Quicker.
PI : | .s : s .s
: 1 .: ,
se : - .se] se : -.se
light- ens, And aimless
mor - tals, Andha-lo
f : |re :
doubt no
earth with
n :
more be-
heav'n'sde-
f :-
d : 1-
- :
d :-
t,
:
1. While trusting
d : 1 .n : n .n
faith the spi - rit
n : - .PI 1 PJ : - jn
Hra, &c.
d 1 : |1
_
s :
^
s : | .d'id'.d 1
r' :-.r'|r' :-.r'
f :- |fe :-
s :
s,
:
2.StiU deign'd to
ten.
so - lace fal - len
t : - .t 1 1 : - .t /
/ t.l:l 1
.d':t .1
s : - .s | s
doubt no more
n : - ,n| r
d 1 :-.d'|t
be-
: - .r
: -.t
n : | .n : n .n
guiles, And aimless
r : | .d:d.d
t : | .1:1.1
1 :-.l|l :s.f\
doubt no more be-
d : f .Pi|r : - .r
. light - ens, And aimless
\ n : n j .1 : s .f
Id 1 :d' ( .d'rd'.d
d 1 :-.d'|t :-.t
mor - tals,
I 1 :1 I
And ha-lo
.f :f .f
earth with heav'n's own
s : - .3 | s : - .s
light, Andha-lo
se :- I .1:1.1
earth with heav'n's own
f :-.f|s :-.s
St. Co. (New.J
266
: 1 :
guiles,
d :- |- :-
d' :-i---
light.
d :- |- :-
s : t .l\ ./: n .r
ADDITIONAL EXER
1 :
CQDA. tempo prime.
s : |n : n
An - gel of
n : |d :d
s : | s : s
An - pel of
J :- |d :d
d :d> | :
CISE8. PART II.
--. molto espress.
:- Mi :t t
An - gel of
P
f :- |- :-
Hope
t, :-|-:-
s :- I- :-
Hope
d :- |- :-
=~7^. |- :t.l
d : - 1
Hope,
n ' : s |n : n
lin - ger mnr
d :n |d :d
8 : |s : s
lia - per near
d :- |d :d
I : s \ :n \
lin - gor, still
PP
s :_|-:-
ger,
d 1 :-|-:_
ger,
8 :- - :-
d^_ :-."\^-
n :-~p ;
us.
d :- |- :-
8 :- |- :-
us.
d :-|-:-
E. Spo/orth.
n : r .d
Lin - ger, still
f :- |- :-
us,
a 1 .
8 . |
US,
si :-!-:-
1 : s \ :t\
lin - ger near
f :- |- :-
still
r :- |- :-
d' :t |- :
lin
n "' : | f : f e
j -__ ger,
^ Tie 1 1 :
lin ...
d : | r : re
n :- |f :
d' :-|-:-
lin
d :- |- :-
.
. i .
:"- ff :-
d :- |- :-
. ^ _
HI.
n :- |f :-
n : |f :-
ger near
d :- |d :-
8 :- |1 :-
ger near
d :- |d :-
'LEASANT SPRING
:d |s, :-
lin
d :- 1- :-
d' : |1 :-
still lin
s, :- |- :- d :- |- :-
f) KEY Q. M. 88. THE SPBINO, THE I
/ .(n) n : - .f |s A- : r,d- 1,
1. The Spring, the plea - sant Spring is blown,
. ,) s, : - .8) |S| : s, 1, : 1, I s, : -
.(d) d : - .r |n : n f : f In : -
2. Coma with all thy sweet - est smiles,
.(d) d :- .d |d :d d :d Id :-
Let us
8, : 8 t
n : f .n
With thy
d : r .n
St. Co. (Ntw.j
ADDITIONAL EXEKCI8ES. PART It.
267
D. t
jt, .r :- .d
, f ,
s ,i .- ; i ,1*1 ,
- |n : r n
: - .n
r s : - .d'
leave the
smo - ky
town, From
the
mall and
s, :- .s,
Si : S,
1 l 8|
- .8,
id :- .n
r : - .n
r :d
Id :t, d
:- .d
r s : - .s
gra - ces,
with thy
wiles, Come
and
we will
f :- .n
t, :d
1st :- d
:- .d
'in : - .n
ores.
/ t .d 1 :r' .t |d' .t :d .
r 1 n'.f 1 .- :r',t.- id 1
:- .1
s ,f .- : n .,r
from the rmg f
Ev' - ry one
has
ta ken
s : s
S :
s : s |s
:- .f
n,r.- :d .,t (
s : s js :
s : s | s
:- .d'
d 1 ^ 1 .- :s~~
mer - ry be,
Who shall be
so
blest as
r .n : f .r
n .f : n .
r d,t|- :r,f.- |n
:- .f
s : s,
/ n : n .,f
s :1
.,t Id 1 :- .r' n',f'.-
: r'.t .- |d' : s
wing, Ev' - ry
one, ev' -
ry one has ta
ken
wing, has
Id : n .,r
d :f
.,f s : - . 1 s
: s
s : s
s : s ,,s
s : d'
.,r ( |d' : - .1 d',r'.- : t .r 1 .- |n' : d 1
we, Who shall
be, who
shall be so blest
as
we, so
,|d :d .,r
n :f
.,r n : - .f s
: Id' :n
^ f. Q. ft' Much slower.
1 :f |r' :t d
:- |- :-
r .r :
|r .r :-
ta ken v,
ing.
Clo-e,
Strephon,
f : |f : n
: j :
"t|.t| :
Ui.r :-
d 1 : 1 |t : s s
: |- :
d's.s :
11 .1 :-
bleet as v
re?
Clo-e,
Strephon,
f : |s : d
~~ 1 ~~ ~~~
d 's .s :
If .f. :- /
/ n : n | f : d
: - .d |d :- .d
r : r
In : i
Co - ry don, A
11 are fled and
all are
gone;
r : de | r : d
:- .d |d :- .d
d : t,
Id : -
1 :1 |1 :- 1
:- .1 Is :- .s
s : s
Is :-
Co - ry - don, A
Jl are fled and
all are
gone;
i HI : 1, ; r : f
f 1 M
; .1 j n : - , f
1*1 : Si
Id :-
St. Co. (2ftfo.)
268
ADDITIONAL EXERCISES. PAKT II.
P Original lime.
ores.
f,m.-
:j>.-
1
:- .f
n,r.-
:n.f.- is :-
r
:- .de
r ,f
:1 .8 \
What
is
left's
not
worth
your stay,
Come,
Au- re
lia, i
d
:d
d
:- .d
d
:1, Is, :-
1,
:- .li
li
: !i r
d
:d |d
:- .d
d
:d |d :-
r
:- .n
r
:de C
What
is
left's
not
worth
your stay,
Come,
Au-re
lia,
1,
:1. Hi
:- .1,
S|
: f i | HI :
f|
m
f,
:n, |
/ f ,n
:r .d
ti
: s .s
s
: | : s .s
S
:
:
come,
come a-
way,
come a-
way,
come a-
way,
ll
: 1, ,1|
t,
: t, .t, |d :
: r .r
n
:
come a - way.
come a
way,
r .de
: r .r
r
:
:r .r |d " :
: t| .t, | d :
come,
come a-
way,
come a way,
come a
way,
r, .n,
:f, ,fe,
:
:f, -fi In, :
: i'i . TI
d,
: ,
S
: - .n
f
: n
f
: s .s ] 1 :
1,8.-
:f/,.-
r
: - .r
Come,
Au-
re
lia,
como,
come a- way,
What
is
left's
not
d
:- .d
d
:d
d
:d .d |d :-
1,
1|
t|
:- .t,
n
:- ,s
1
: s
f
: n ,n | f :
f
:f
S
: - .s
Come
Au- re -
lia,
come,
come a- way,
What
is
left's
not
d
:- .ta.
1,
: ta,
1,
' S . S| I 1 1
f
:f
f
:- .f
Cl'lS.
/ S,f.-
:n,r.-
Id
:
f .n
: f .r jn : f
n
: r .n
f
: \
worth
your
stay,
Come,
come, Au-re - Ha,
como,
como a
way,
t|
: t.
Id"
:
t t .d
: t| .r |d : r
d
: t, .t,
d
: /
S
: s
Is
;
8
: s .s | s : 1
s
: s .s
f
: (
worth
your
stay,
Come,
come, Au-re - lia,
come.
come a
way,
<
f
: f
In'
:
r .d
: r .ti |d : f i
S|
: s, .8,
1|
.
,{,i
:s .f
|n .f
:s .f
n
:- |r :-.r
n .f
:s .1
8 .f
:n .r N
Come,
come, Au-re -
lia,
Come,
come a-
way,
.
.
- (
d
: r .r
n .r
:d .r
d
: I t| : - .t,
d
:d .d
d
:d.r 1
Como a- way,
corao a-
f
: r .r
Is
:s .1
8
: |s : - .s
S
:s .f
s
: s .s
Come,
como, Aii-re -
lia,
Come,
come a-
way,
.
.
-
1,
:t, .t,
d .r
:n .f
8
: |s, : - .8.
d .r
: n .f
n .r
;d .t, J
St. Co.
ADDITIONAL EXERCISES PAKT II.
2G9
p
eres.
P
PI .f
: s .1 | s .f : n .r
PI :
s : - .8, S|
: I, | f.- : d,t,.-
.
...
Come, Au- re
lia, come a -
d
:d .d |d :d .r
d
: H. :si ,
way,
come a - way, come a
- way,
f
S
: s .f | s : s .s
s : :
: |r,f.- :n,r.-
.
.
.
come a -
d .r
: n .f |n .r : d .t|
d :-
n : - .PI PI
:f If, :,
Come, Au- re
lia,
/>
* PP
r :
d | s : - .S|
S|
1. 1- :-
f :r |d :t {
d :- |- :-.
way,
Come, Au-
re -
lia,
come a
way.
s, :
i
i :
1 :- |s, :-
s, :-!-:-.
f :
r 1 :
1 :
r : f |n : r
n : i : - .
way,
come a
way.
d :
|n : - .P;
PI
f, .
. ~
f :- Is, :-
d, :-|-:-.
I
Come, Au-
re -
lia,
Words by AT FIRST THE MOUNTAIN RILL.
Music by
John Oxenford.
(Part-song from " Jessy Lea.")
G. A. Macftt'/ren.
KEY D. Andante.
(T. S. Copyright.)
P
s ,,s : (V .t : 1 .s e
:f.f:s.ll :r :s
f f PI : i
At
first the mountain rill is ^
veak, And from its pris - on scarce
3an break
: .,n
n .,n : s .f : PI .n r
i : r .r : r .r t| : t| : r
r r d : /
: .,s
s ..sjn'.r'rd'.t 1
: - .r : n .f f : f : s
ss : s .s i
At
first themountain rill is i
weak, And from its pris - on scarce
jan bi-eak Then each |
: .,d
d .,d : d .d : d .d i
: - .r : r .r S| : s, : t,
t, d - : J
A. t.
ore*. f dim.
r s,.s.
: n .d : t, .r
d ..PI
: s : - .s
s : - .f : n .r
r : n :
Then each pebble in its
way
Seems e -
nough its course t
5 stay.
r S,.S|
: s, .s ( : S| .si
3|
: S| : d
li .,li: li : t,
t, : d :
sd
:- .d :f .t.
d
: d : n
r .,r : r : f
f :n :
peb
blc in its
: d, .PI, : r, .f ,
way
n, ".,d,
Seems e -
: n, : d,
nough its course to
r, .,r,: r, : s,
stay, f) \
d, : d .,d : d .d J
Then each pebble in its
way
Seems e -
nough its course to
stay. Spreading as it /
St. Co. (New.}
270
ADDITIONAL EXERCISES. PART II.
f. D.
r'..d':t .1 : .f
Spreading as it glides a-
"t 1 : s .f : n .r
n : :
long,
d : :
mf
f .,n':r' .d 1 :t .1
Soon it is a torrent
r 1 .,d': t .1 : s .f
8
strong
n
cres.
ds : : 8
* glides a -
P
& ,,s : fe .8 : 1 .n 1
mf
in'.jr'rd' .t : 1 .s
Spreading as it glides a-
long,
n' ,f : 1 : n 1 .r 1
s : :
long,
s : - . s : s . s
Soon it is a
r 1 :s .1 :s .f
/**,
s 1 .,f n> .r 1 d 1 .t (
Soon it is a torrent'
S ,,S 8
tor - rent strong,
n
And its path is broad and
r .,r : r .r : de.de
ta :-- :1 .1
strong ; And its
S .,8 I A .8 : 8 .8
And its path is broad and
s .,s : feTs TT .n'
free, As it
r : - : f .
1 .,1 : 1 : 1 .1
path is free, As it
f :- :f .f
free, As it
e dim. ;
s' .f : se .1 : n 1 .r 1
bounds in - to the
n : - . f : n . r
d 1 : - .s :1 .t
bounds in - to the
s : :
bounds,
5 cres.
r' : s .d 1 : t .d 1
sea.
d
d 1
sea.
1 ,,s : f .n : r .d
Soon it is a torrent'
n' ,,r': s :
And its path is broad and
r .,r : r .r : de.de
s ..s s .8 : s .s
And its path is broad and
tai : L .1)
\ strong And its
t .r : n .1
frew, As it
r :- :f .f
1 :r' :1 .1
free, As it
r .,r : f : r .r
path is free, As it
~I^=~
s .,s :d' .t : 1 .s
bounds in - to the
n ; .n : PI .n
d 1 : - .d' : - .d'
bounds, as it
s :- .1 : 1 .1
t,o, .nils in - to the
a :f :
sea.
8 " ~"""
? : - .r 1 : t .,1
bounds in - to the
t :- ;
sea. /
cres.
.,1 :r' .d 1 :t .1 \
At first, at
.t, : d .r
first the mountain rill is
n .,n : s .f : n .n
weak,
n .2 :
But spreading as it
.,f : 1 .s : f .f i
1 s :
: : P.,8
d 1 :- .t :1 .s
f : : .,1
sea.
.f : n .r
At first, at
1 .,s : s :
At
d .,d : n .r : d .t (
first the mountain rill is
mf
.,d': f .n 1 : r' .d 1
first the rill is
1, :- .d :f .n
weak, the rill is
m s .f : f .n
weak, But
r .,r : f .n : r .d
weak, But spreading as it/
ere*.
8 .,f : t : 1 \
glides a-long,
f .,s : s :
r' :- .d 1 :t .1
spread - ing as it
t ( .,ti: t .r : 8 .f
A torrent strong, its
.,d:d" .t : 1 .s
s . : .,d' : f .n 1
glides, A torrent
n ..n : 1 .s : f .,r
path is broad and free,
f .f : n .r : r .d
r'.t :d' .r 1 : s~
strong, its path is broad,
8 .s : 1, .t, : d
As it bounds,
n .,f:f :-
ta .,1 : r : -
As it bounds,
de .,r : f :
i glides a-long, as it
St. Co. (New.)
glides, A torrent strong.its
path is broad and free,
As it bounds,
I
ADDITIONAL EXERCISKS. PART II.
J71
t .,1 :n' :r'
f .,n':s' .n 1 :d' .1
s .1 : t :n' .r 1
d 1 :
sea.
n :
sea.
d' :
sea.
d :
as it bounds,
f .,f : 1 : -
r' .,r':f :-
as it bounds,
f .,f : r : -
bounds
s .,s : d 1 : s .n
in - to the
f .f :i :- .f
in - to the
t .d 1 : r 1 : t .t
As it bounds
d' .,d':n' .d 1 :n' .d 1
As it bounds
s ,,s : s :
in - to the
- .s : s : S| .si
s .,s :d'.t : 1 .s
love, is oft so weak at
n .,n : s .f : n .n
s .,s : n 1 .r 1 : d 1 .t
love is oft so weak at
d .,d : d .d : d .d
P
: s
Thus
: n
: s
Thus
:d
A. t.
* s,.si : n .d : t| .r
Scarcely can its presence
r si.Sj : S, ,S| : S| .S|
sd :- .d :f .t,
can its presence
t|-n|.ri| : d| .HI : TI ,f|
Scarcely can its presence
f. D.
first,
first,
cres.
d .,n :
S
feel;
But
si :
l
d :
d
feel ;
But
Hi ..d,:
n,
feel;
But
f .f :s .!
That e'en the
: r .r : r .r
: - .r : n .f
That e'en the
: - .r : r .r
- .8
its
d
n
its
d,
its
/
1 :r
.r :s .f
in which 'tis
.t| : r .r
.f : s .s
in which 'tis
.S| I t, .t,
f :n
heart
ti :-
f :-
heart
si : -
nurs'd
r :d
s :
nurs'd
d :-
dim.
: s .s
Scarcely
s : - .f : n .r
pow'r 'twill soon re
r
: n
:d
B
-vea]
t,
r .,r : r : f
pow'r 'twill soon re -
r, .,r,: r, : s,
f
: n
,d : d .d
veal
d,
':?.
pow'r 'twill soon re -
veal
; And
so mighty
s r' .,d': t .1 ' s .f
And so mighty is its
"it .,1 : s .f : n .r
is its
n : :
force,
d : :
mf
in'.,r':d' .t : 1 .s
And so mighty is its
8 """ ~""
force,
f .,n':r' .d 1 : t .1
Nothing can re- strain its
r 1 .,d':t .1 :s .f
s : :
force,
s : - .s : s .s
No - thing can re-
s : :
course ;
n : :
f dim,
s' .,f':n' .r 1 rd'.t
Nothing can restrain its
s ,,s : s :
strain its course ;
/ s .,s : fe .s : 1 .n 1
Riches, honours, what are
r .,r : r .r : de.de
ta :- :1. .1
course, Itiches,
s ,,s : s .s : s .s
Kiches, honours, what are
n> .,f':l tn'.r 1
r 1 :s .1 :s .f
n :
way;
d : :
d' : :
way;
1 ,,s : f .n : r .d
Nothing can re-strain its
they ? Love thro'
r : : f .i
1 .,1 : 1 : 1 .1
what are they ? Love thro'
f : : f .f
they? Love thro'
all will find a
n : - .f : n .r
d 1 :- .s : 1 .t
all will find a
s : :
all.
St. Co. (NewJ.
ADDITIONAL EXERCISES. PART II.
s .,s : fe .TTT~.Pi 1 '
Nothing can re- strain its
r .,r : r .r : de.de
s .,s : s .s : s .s
Nothing can re- strain its
tai : :l|.l,
course, can ro-
f dim.
s 1 .f : se .1 : r' .r 1
course, Love thro'
r : :f .f
1 :r' : 1 .1
course, Love thro'
r .,r : f : r .r
strain its course, Love thro'
P eres.
r 1 :s .d 1 :t .d 1
all will find a
PI t - .PI j n .n
d 1 : - .d 1 :- .d 1
n 1 .,r': s : \
way.
s : :
P : - .r 1 : t 1
all, Lovo thro'
s :- .1 :1 .1
all will find a
all will tind a
t.
way. /
to -=-
^^
" * = --
: .r : n .f
s .,s : d 1 . t : 1 . s
s :f :
.,1 : r 1 .d 1 : t .1 \
Thus love, thus
: .t, :d .r
1 : s :
love is oft so weak at
PI .,n : s .f : n .n
P
: : .,s
first ;
n :f :
d 1 :- .t :1 .s
But soon it will its
.,f :1 .s :f .f
f : : .,1
way.
: .f : n .r
Thus love, thus
Thus
d .,d : n .r : d .t t
love is oft so weak at
love is weak at
li :- .d :f .n
first, so weak at
first, But
r .,r : f .n : r .d
first,But soon it will its ,
1 .,s : s :
% f ' .n' : r' .d'
t .1 :s .f :f .PI
cres.
s .,f : t : 1
pow'r reveal,
f .,8 : s :
r' :- .d 1 : t .1
so mightv,Nothing
.,d:d' .t :1 .s
can re - strain its course,
f .f : n .r : r .d
r 1 .t : d 1 .r 1 : s
Love thro' all,
n .,f:f :-
ta 1 : r 1
soon re - veals its
pow'r, so mighty,
PI .,n : 1 .8 : f ,,r
Nothing can re - strain,
Love thro' all,
de . r : f *
pow'r re-veal, its
pow'r so mighty, Nothing
can re - strain its course,
Love thro' all,
t .,1 :n' :r>
f ..n 1 :* 1 .n 1 : d 1 .1
s .1 :t :n' .r 1
d 1 :
love thro* all,
f .,f : 1 : -
love thro'
8 .,s : d 1 : s .n
all will find a
f .f :f :- .f
way.
n :
r' .,r':f :
Love thro' all
d 1 .,d':n' .d 1 :n' .d 1
will find a
t .d 1 rr 1 : t .t
way.
d 1 :-
love thro* all,
f .,f : r : -
love thro' all
8 .,s : s :
will find a
- .s : s : s, .BI
way.
d :
St. Co. (New.)
ADDITIONAL EXERCISES. - PART II.
273
O THE JOY OF SPRING.
"\Vords by /.
5. C.
KEY F.
/ -=- -^- ^ :=
r-
d.r
n .s, :
PI
:
r.d
r.li
;
r
!
f
.1
?
the
d.d
joy of
d .8) :
Sprin
d
Bfi
Let us
t,.d
gaily
Ii.ll
:
sing,
li
While the
:l,.r
,2.Now the
primrose pale
Greets the
daf-fo
-
dil,
And the
!
n .f s .n :
s
;
S .8
f .f
j
f
!
r
.f
\ .TThen com -panlous, ho!
To the
fields we go,
And in
\:
d.d Id.d :
d
:
r .n
f.f|
:
f,
;
f,
.f.
Slyrian Air.
s .r : s .1 : r .f
sunshine on the moadis
vio-let - scented air is
f .f :f .r :s .s
harmo - ny be - guile the
n :
bright,
sweet,
s :
hours,
:d .r
While the
: d .t,
Birds in
: s .s
Now in
S|.S: : S;.S; : BI..SI Id '. : n .r /
C. t. fres.
.^ ^
/ =
==-
n .s, : n : r .d
t|pi.s : n 1 : r 1 .d 1 .
t .
d" fFTrT:!' .,t
d 1
:
lambkins play, And the
earth is gay, And all
na-ture keeps a hoi - i-
day.
d .S| : d : t, .d
s
d.n : s : s .s
8 .
s : t .d 1 : t .,s
S
:
ev-'ry tree Make a
melo - dv, Singing
welcome to the sun- ny
May.
s .n : s : f .n
r
s.d 1 : d 1 : f' .n 1
r 1 .
n 1 : f .n 1 : r 1 .,f '
n 1
:
softest trill ; Now in
music shrill, Shall our
song the joy-ful wel-kin
fill.
d .d :d :d .d
r s.s : s : s ,s
S .
s : s .s : s .,s
d
*
-== <r
dim.
1 .f :d' :t .1
1
,,s : n : s .se
T,
.,1 :s .1 :f .r
n
:
la la la, La la
la la la, La la
la
la la la la la
la,
f .f :f :d .d
d
.,d:d :d .d
r
.,d : t| .t, : t| ,t|
d
:
la la la, La la
la la la, La la
la
la la la la la
la,
d 1 1 1 s f
f
f
.,f : f .f :r .s
s
. ^_
tl * J. * X m 9 tm
la la la, La la
la la la, La la
la
la la la la la
la,
f .f : f : f, .f,
d
.,d : d : d .d s.
.,si: S| ,S| : Si .s t
a
'. ~
motto, n't. e dim.
<^;
rit. ^
^ - >
1 .s :f :t .,i
fe.s :d' :t .1
1 .,s : 1 .,s : f .t|
d
lambkins play, And the
earth is gay, And all
na - turekeepsa hol-i -
day.
f .d : d : f .,f
re .PI : n : f .t'
f .,f : f .,f : t, .s,
S|
ev-'ry tree, Make a
mel-o - dy, Singing
wel - come to the sun-ny
May.
d 1 .ta : 1 : s ,,s
1 .s :s :d' .d 1
t .,t : t .,t : s .f
n
softest trill ; Now in
mu-sic shrill, Shall our
song the joy - ful wel-kin
mi.
f .f : f : r .,r
d .d :d . fj fj
s, .,si: s, .,s ( : s\ .s t
d
fit. Co. (New)
f. F.
id's .se
La la
i 1 n.n
La lii
:f'd'.d'
La la
:*a.a
: s .se
While the
: PI .n
Birds in
: d 1 .d 1
Now in
- :d .d
274
ADDITIONAL EXERCISES. PAKT II.
HOW LOVELY ARE THE MESSENGERS.
(Chorus from " St. Paul.")
Mendelstohn.
KKT GK Andante con moto. M. 132. ALTO.
P
1 1 : : ! : : si d : - : t, 1 1, : - : s, f : - : n | r : - : d 1 1 ( : d : r | s, : s, : Sl
1 1 How love - ly are the mes - sen-gers that! preach us the gos-pel of
nil :- :- 1 : : ,
( | peace ; How
1 :- :t, |d :- :r
love - ly are the
t, :- :d |r :- :f
mes - sen - gers that
n
:r :d IT : li : t,
d :-:-!: :d
*
preach ua the goa - pel of
peace ; The
gos pel of
: : | :BASS.: si
How
n,
: - : | : : s,
1 : - : si |t| : - : d
r : - : - !- :n : f
a; the
: - '. t| 1 1| ' ' s.
mes - sen - gers that
f :- :n |r :- :d
preach us the
t, : d : r | s, : s t : s.
love
ly are the
mes - sen - gers that
preach us the gos - pel of
n
: n : r |d : - :
: : I : :
: :d |d :- :-
i
- pel of peace !
1, : - : t| |d : - : r
How love
t, :- :d |r :- :f
peace, How
love ly are the
mes - sen- gers that
-
! - :- Is, :- : - ^ : :d |d :- :f n :r :d |r :1|
n
: r : d |r : l t : t
are they that preach us the gos pel
d :- : - I : :d i, : - : - | - : -
preach us the gos - pel of
peace ! the words
fS.(
3.T.B.
s :- :- |- :- :n n :- :- |r :- :d
ti :d :r |r :n :f \
To
all f the na tiona is
a :- : s, |d :- :d d :- :- |ti : - :d
gone forth the sound of their
BI : I, : t| i t| : d : r
of
: Si
peace ; To all the na tions is
n :- :- |- :- : s s :- :- | s :- :s
gone forth the sound of their
t' : n : r | r : d : t.
To
: s,
all f the na - tions is
d,:- :d j n : - :d s :- :- |f :- :n
gone forth the sound of their
r : d : t, | t, : 1, : s,
, of
peace ; To all the na tions is
gone forth the sound of their
8t. Co. (Nev).
ADDITIONAL EXERCISES. PAKT It.
275
D. t.
n : - : - I : :n
words, to
d :- :- 1 : :n
all ' ' the
d 1 :- :- |t :- : t,n
na - tions is
f :s :1 v
gone forth the
f :- :-
words, the
d : - : n |n : - : -
words, to all
d : - : I : : n
words, to
sound
_ _ 1
' the
is
1 :-:- lit:- :
na - tions
n : - : | Pi| : - : m \*.\
na - tions is
gone,
r : - : -
gone, /
all the
/|t :d' : r\
sound of their
- :- : f
is
is
- : - : r
is
s :- :- I- :- :
words, is
f : - : - |n : - : s
gone forth, the
s : 1 : t |d' : r 1 : n 1
gone forth the sound of their
n :f : s |1 : t : d 1
gone forth the sound of their
1 :t :d' |r' :n' :f
gone forth the sound of their
s :- :- |f :- :-
f':- :- 1- :- : -
words,
- :- :r is :- :f
sound
n 1 : - : -
|r' :- :d"
their
1- : :f
the
of their
t : - : - | : : s
words, How
sound.
words,
f :- :-
words.
PI : - : -
words.
d' :- :t
love - ly
the
;
1 ;
.
: : I :
: s
d' :--
: t
How
love
. ly
;
: 1 :
: : s, | s : -
:f
n : -
How love -
ly
are
f 1 :
- : n 1 | r' : -
:d'
t : d 1 : r 1 | s : s
: s
s : -
: -
mes
- sen - gers
that
preach us the gos - pel
of
peace,
- ;
- ; - | ;
: s.
s : - : f |pi : -
: r
n : -
:d
How
love - ly are
the mes
sen-'
/ '
f :- :n' |r' :- : d 1
n 1 : r- : d 1 | r 1 : 1 : t
d 1 : - : - | s : - : \
are the
mes - sen - gers that
preach us the gos - pel of
peace,
: : s
f :- : s |1 :- : t
n :- : - jf :- :r
s :f :n |f :d :r
the
mes - sen - gers that
preach us, that
preach us the gos - pel of
: : s
d 1 : - :t |1 : - : r 1
d 1 : - : - |s : - : i 1
n 1 :r' : d 1 |r' : 1 : t
the
mes - sen - gers that
preach us, that
preach us the gos- pel, the
f :- :n
1 :- :s |f :- :r
s : \ \ - '. - i
s : - : - | - : : s
\ gers, the
mes - sen - gers that
preach
us, that/
dim. f> f. Gr.
/ s :- :- |- :- :f
n : - : - |n - : f
PI : - : - |r : - : d
,:- :- \
f they that
preach us the
gos - pel of
peace.
n : - : - j : : r
r :- :- |d - :d
d : - : - |t, : - : d
^S, : - : -
peace, that
preach UP the
gos - pel of
peace.
d 1 : s : ta |1 :- :1
se : - : - i 1 : f
s : - :- |f :- :n
mt, : - ; -
gos -pel of peace, that
preach us the
gos - pel of
peace.
s : f : n | f : d : r
n : - : - 1 1| :
BI : - : - | s, : - : s.
d s ,:- :-
preach us the gos - pel of
peace, the
gos - pel of
peace.
,St. Co. (New).
27G
ADDITIONAL EXERCISES. PART II.
f. C. L IB A.
! : :r
s :- :f |"t :- : 1
se : - : - | se : - : 1
se: 1 : t |t : d' : r 1 '
To
all the
na - tions is
gone forth the sound of their
1 : :
! ! ! ! i
i ! t ! !
! i ' , : :
To
all
the
t i
: : I : :
: : 1 : :
. : I : :
O. t. X is . ores.
1 d 'f : - : - | : :
: : I : :
: : 1 : :
: : \
words.
\ * 1|
r :- :d |t, :- : 1,
se,: - : - |se, : - : 1,
se, : 1, : t|
To
all the
na - tions is
gone forth the
"'!:- :f |r :- :-
: : I : :
: : 1 : :
: :
nu tions,
ores.
: i ' i
: : | : : t.
PI : - : - | - : - : -
- : - : -
To
all,
ftC.
/I : : : : 1 : :d s
s 1 : - : - 1 - : - : n 1
n 1 : - : - | r 1 : - : s \
To
all the
na tions is
t| : d : r
d : - : - : :ds
d' : - : - | - : - : d 1
d':- :- |t :- :s
sound of their
words;
: :
: : | : ;dg
n 1 : - : - | - : - : d 1
a 1 - - Is - -a
a . . | B . . s
To
all the
na - tions is
n : - : -
n :- :d 1 1, :- :
: : 1 : :
! ! : :
, the
na - tions
O. t.
/ n 1 : n 1 : r 1 |d'f : n : r
t :- :- | : :s
d 1 : d 1 : t 1 1 : s : f
r 1 : -
gone forth the sound of their
words, is
gone forth the sound of their
words,
n : ba : se I 1 r : n : f
f :- :- I : :n
d :r :n |f :s : 1
r : - : -
a : 1 : t Id'f : s : 1
r :- :- | : :d
PI : f : s 1 1 : t : d 1
s : -
gone forth the sound of their
words, is
gone forth the sound of their
words,
: :
: : f |
s, : 1, : t, |d : r : r,
n :- :- | : : 1,
t, : Ij : 8,
1 is
gone forth the sound of their
words, is
gone forth the
i- :
: s
s : -
: -
1- :-
: n
PI : - : -
|r :-
:d
To
all
the
na
tions
is
I 1 " :
:f
PI : -
: -
1- :-
:d
d :- :-
1 1, : -
:d
1- :
: s.
s : -
: -
1- :-
: s
s : - : -
Is :-
: s
To
all
the
na
tions
is
|f :n
: r
d :-
:s,
Id :-
: n
s : - : -
If :-
: n
sound of
their
words
to
all
the
na
tions
is
t, : d :r |r :n : f *
gone forth the sound of their
s, : 1| : t, | t, : d : r
f : n : r |r : d : t|
gone forth the sound of their
r : d : ti | t, : 1, : s,
gone forth the sound of their
St. Co. (New}.
ADDITIONAL. EXERGUES. 1'AIIT II.
277
n : - : - I
:d :d
1 :- :- ,s :- :-
f :- :- |n :- :r
r : - : -
words,
throughout
all the
lands their glad
tid
d : - : - |ta,: - : ta
1, :- :- It, :- :-
d : - : - |d :- :d
d :- :-
through - out
all the
lands their glad
tid
1 n :- :- |
:d :d
f :- :- |r :- :-
1 : - : - | s : - : 1
s : - : -
words,
throughout
all the
lands their glad
tid
d :- :- |
:d :d
f , : - : - |s,:- : - 1, : - : - Id : - : f , s, :- :-
- : - : -
d :- :- | : : : : ! : :
: : J ': : ; .V
it,':- i -
dings. p
d :- :.- | : : s, d : - : t, 1 1, : - : s.
f :- :n |r :- : d /
.
dings. How love - ly are the
mes - sen - gers that!*
- : - : -
s :- :- |- :- : : : 1 : :
: : 1 : :
.
dings.
..,..]
- '- f i
n, : - : - | - : - : : : 1 : :
p
- : : 1
: : | : : s
s :- :- |f :- :-
- : - : -
How
love - ly
t ; : d : r ] s\ : s\ : s.
s, : - : - | : : s.
1, :- :t, |d :- :r
t, :- :-
preach us the gos - pel of
peace, How
love - ly are the
mes
: 1
: :
: : I : :n
1 : - : - |- : - : -
s : - : -
How
love ...
ly
: : 1
: :
: : | : :d
f , : - : - | - : - : -
s, : - : -
How
love ...
ly
p
In : - : r
n : r : d | r : 1, : t ( d : - : - 1 s ( : - :
d :- :- |- :- :f
they that
preach us the gos - pel of peace,
thev that
Id :- :-
'- : - : - | s, : - : s, s, : f, : n, |f, : f, : f.
n, : - : | 1, : - : -
sen
gers that preach us the gos - pel of
peace, that
d :- :1
s:-:- |f :-:f n:r:d | r : 1, : t|
d :- :- | : : t,
thev that
preach, that preach us the gos - pel of
peace, that
1, ": - : f,
. . 1 . __ 1
fi :d, :r,
S| . . | . . * . . |
. 1 1 . HI
they that
preach us the gos - pel of
n:-:-n:-:r d:- - 1 1. : - : d d:-:-l
preach us the
gos pel of peace. Four measures
i set: - : - |1
: - : li
s, : - - | f , : - : n, n, : - : - | :
' t, :- :- |d
:- :f
n:- - ! r : - : d d:-:-j :
preach us the
gos pel of peace.
n, : - : - | -
: - : f |
s, : - - |s, : - : si d : - : - | :
peace,
the
gos pel of peace. Symphoiiy.
St. C<< (Xei
vj.
278
ADDITIONAL EXKRdSKS. - PART II.
AWAKE JEOLIAN LYRE.
KEY D.
: s n
M. 50. Largo e
cres.
:-.s|d' :
wstenuto.
^ /
- : : t
I 1 |d' :d'
t :
J. Dauby.
i : t
A - wall
: t| d
e, a - wake,
> "
: -.n| s : : r
E - o - lian
i |n : n
lyre,
r* __
.
a -
1 : r
: r n
:- I- : .d
>. a - wake,
n 1 : | : ; s
| s : s
8 :
I- :s !
A - wal
: S: d
e, a-
1
^^ i
wake,
- :- 1-
: ;
K - 1 1 - lian
I Id :d
lyre,
s, :
a -
1
1 /
i d 1 :n'
I r : t d 1 : - ! -
& , ,_
Quicker.
^ f
M. 100.
1
wake, JE
n : s
o - lian lyre,
|f :r n :- |-
a - wake,
: n r :
1- :
.
I : ,
s : d 1
|t :r' d 1 : |
: s s :
I : s
s :f
|n .f : s .n
wake, 2B
o - lian lyre,
a - wake,
and
give to
f
nip - ture,
:
I- :s, d :- |-
: d si :
j
I : .si: l|.t,|d .r : PI .d
a - wake,
and give to rap - turo, '
f .\ :t
d'|r. :d<
t .d 1 : t .d 1
m/
t :
:' 1
.
Td- v
and give to rap - ture
.d : r .n |f : n
all thy tremb
r .n : r .n
ling strings ;
r : r s
.,s : s .f |n
: s
From
f :
1 = -
3 f : 8
8.8 : 8 .8
From H
8 :
el-i - con's harmo - nious
:s |d' ..d'rd'.ta
springs,
?" :-
to rap ture
n r : n .d
all thy tremt
s,.d : S|.d
ling strings ;
From Hel-icon's bar
: | :d
-mo - nious
f ,f:f.n
\
From
Helicon's bar-
f .,f: '
dim.
n 1 r' :-.d'
f>
8 :
~
: .t d 1 :n' Id 1 :
Helicon's ]
iar -mo - nious springs,
d s .f : f .n |n .r : .t.
d .t, : t .d d
A thou - sand
t| : .r n : 8
rills
n : - ,n
It :
iar -mo - nious
springs, bar
: .8
-mo - nious sp
s .f : f .n n
rings,
r : .s 8
: s
s : - . 8
springs,
r : -
bar
d t ( : - .d |d .t t : d .r
-mo - nious sp
n .r : r .d s.
rings, A thou - sand
: .8, d :d
rills their
d : - .d
mo - ni
ous springs, har-monious, bar
-mo - nious sp
rinnfs,
St. Co. (New).
: ! : d'.s
a
f .n : f ,n| f : n
ma/y progress take,
1 .s : 1 .8 |1 :d'
m;izy progress take, a
f.d:f.d|f :d
: 1 :
d .n : - .r |r .d : t ( .d
laugh - ing flow'rs that
n : s |s : -.1
laugh-ing flow'rs that
Largo e sostenuto.
f M. 50.
/ s : - .s | s :
Now the rich
n : - .s j s :
dl *lt 1
: - .PI 1 PT .
Now the rich
d :-.d|d :-
t :- !- :-
long
S ~~"~ I "~~~ \ ~~"~
long ;
s : | :
% Spit
t :- 1-
strong,
r : | dolce.
S. | -
s
strong. Thro
S| : | n
ADDITIONAL EXEI
l.s:f.n|d' :
tCISES. PART II.
their mazy pro - gross
.1 : s .f |n : r
.d 1 : d'.l | s : s
their mazy pro - gress
.f:d.f|s : s,
dim
279
d' :- |- : \
take,
n : | : S|
a . I e
o 1 o
take, The
d :- !- : /
f) rail. ^
1 :se |1 : -
as they flow.
: 1 :
: j
PI ; - .PI 1 1|
as they flow.
1 :t Id 1 :-.d'
thou - sand rills
f .n: r .d|l :
d'.piif.sll :
thou - sand rills
d :r.n|f :
"?*
Drink
r : n |f :
round them blow,
round them blow.
: I :d'.l
Drink
PI :f |s :1
life and fragrance
: 1 :
: 1 :
se : - .t 1 1 : r
life and fragrance
s : |s : t
stream of
s : f In : - .n
Mu - sic
PI : r |d : t|
winds a-
d : r | n : f e
PI' :r' Id 1 :-.d'
d 1 :t |n ( :r'
d 1 :t 11 :-.!
stream of
d : r | n : f e
Mu - sic
s : | si :
d 1 :- It :-
jes - tic,
n : |r :-
8 '. 1 8 '.
jes - tic,
d : | si :
dolce.
: I :PI'
And
: 1 : s
f :n | :
winds a-
P f
t :1 I- :1 \
P f
s : | : t
Deep, ma -
Si : I :r
s : | : s
Deep, ma -
Si : | : 8,
-itoso. M. 152.
: 1 :
: 1 :
s :-.l|s :f
smooth and J
r :- 1- :r
8 : f e | : f e (
smooth and ]
r : | : r /
n 1 : - .f '| PI' : r' \
Ce - res' gold - en
s :-.l|s :f
: 1 :
' ver - dant
n : - .f |n : r
vales,
r :d i :
: 1 :
St. C& (New).
280
ADDITIONAL EXERCISES. PART II.
c
reign.
f :PI | :
: 1 :
(j : 1 :
d 1 : s s :
res.
d 1 - : ,-
Now,
d :- |- :- -
d 1 :d'.d'|d'.t: l.s 1
:- |t :-
now
1 r
1 r .
s : f .n|r :
ep a - main,
n : r .d| 8| :
.18
d 1 :t.t|d' :d'
head - long impet - uous
n : r .r| n : n
d 1 rs.sld' :s
head - long impet - uous
1
: ~~. \
i : n .n r : n n
Now rolling down the ste
d'.t ; 1 .s|l .s : f.n f
- : - 1 .d' : t
see it pour,
f :r n : -.srf.nf :
- .n : f .r P
1 :t d 1 :- -.n 1 :r'.d' 1 :f
s : -
see it pour, see it
:d.d' t :d'.d'
see it pour, - ...
f : |d :-- - :- - :-
sec it pour, see it
:r.t||d :n.d s : n .d
P
: .ss :-.s |1 : ta.s 1 :
The rocks and nod - ding groves
r :-.rn :-Ji|f :n f :1
pour,
|t : -.t d 1 :-.d' |d' : ta 1 : d 1
c>
- :d' d
re - t
- :f r
: 1 s
/
I 1 : r 1 n 1 : t
>el - low to the
i : r Id : r
: f n : r
>el - low to the
i S, S| : 8|
ff
t :- 1- :t \
pour, The rocks and nod - ding groves
s, : - .8| d : -.ta,| 1| : s ( f| :
d> t Id'
re - I
: f ,
:- Id' :-
roar,
n : | :
r : |n : - .f s
:- In" :-
re -
r : | : s
d .tj: d .r |n .r : n.f
B .1 : s .f |n .f : n .r d
t,: d .r |n .r : n.l
s : -- | : r 1
roar,
d .t ( : d .r |n .r : n.f
s .1 : s .f |n .f : n.r d
t ( : d .r 'n .r : n.i
re -
s : | : s
/ d 1 :- |- :d'
bel - - low
S *~~ 1 1 . ~~
bel - low
bel - low
d 1 :- |f :-
d 1 :- |t :-
to the
8 :- 1- :f
to the
n 1 :- |r' :-
to the
s : - | : s
d 1 :d'.,t|d'
roar, to the roar,
n : s M f |n
n' : n' .,r'| n
roar, to the roar,
d : s .,s | d 1
D.S.
d'.,t d' :- |-
to the roar. ,
s .,f n : |
n 1 .,r' d 1 : - | -
to the roar.
s .,3 d : |
St. Co. (Ntw).
ADDITIONAL EXERCISES, PART 3.
For style of singing see " Hints on the Tunes."
Words
George I
KEY G
P
t ' S| ,,S|
ll Where the
1 s ; .S|
J
2 Where the
: n .,n
3. Let us
i i d .,d
by WHERE THE GAY DREAMS OF CHILDHOOD ?
ennett. (Copyright.) German Air.
. Moderato. Harmonised by Kiickeu.
s,.,n :*n
: - .1
s : r : r .,n
child - hood, With the
t, : t : t, .,d
man-hood, That would
r : s : f .,n
re - al, There's no
S| ' S| '. S| ,,S |
f 1 - o
i . i . . 8
love - light of
t, : t, : - ,t|
seem not like
r :f :- .1
truth in our
Si : S| : - .si
n : : "1
truth ? The
d : - : df
dreams, But
n : : s d'
dreams, Thev
d :- :df
gay dreams of
si .,d : d : - .d
bright dreams of
n .,s : s : - .f
live for the
d :d : - .1,
1 :-
vi
f :-
Ts : s .t
r' :d'
beau - ty
f :n
mf
dim.
1 :-.s :
r.,rs
Pi. G.
d : : d g|
youth? They
d : : d s ,
S|.,r : r : - .n
sion of
.f :f
That
: re
daz - zled our
n : - .n : t|
pass'd like the
S|.,t| : t| : - . t.
pre -
t : -
sent and
.t : t
cer - tain, The
t : d 1 : d 1
sur - est
d 1 : - .d 1 :
of
f,s
schemes? We
n : : dg|
near the temp-
8|.,f : f : - .8
melt
v r : -
like the
.r : s
rain - bow, With
s : 1 : f e
fair - est
8 : - .81 :
of
S|
beams, In
d : : d s ,
youth's morn of
S| : s, : - .s.
r : d : - .S|
cloud- lets By
S| : 8 : - .8,
ta - tion, It
f : n : - .n
s,-.,f : f
: - .s
n : :
roll'd,
d :- :
touch,
s : :
All
Wo
poco accell.
s : 1 : t
touch'd with the
s : f e : f
grasp at the
t : d 1 : r'
~^^=^- D. t.m.
r 1 : d 1 : .1$
glo - ries, All
s : s : .is
bub - ble, We
f :n' : .is
morn - ing un-
s,.,r : r : - .t.
fades at
r .,s : s
the
: - .s
beau - ty In
d : d : - .d
man - hood or
t, : t| : - .s.
age,
d :- :
The
.ds
true and the
s : s : s
last - ing, The
d :d : .is
s : 1
: t
r 1 : d 1
/ G. \
~^> ~^*
s : 1 :
t
r' id '. s
t : 1 : -.f
touch'd with the
s : f e : f
glo - ries, All
S* c * ni 1 1
1 1
touch'd with
t, :d :
the
r
glo - ries Of
d :d : .d
crim - son and
t, : t, :-.ti
grasp at the
t :d :r'
bub - ble, We
f :n' : .d's
grasp at
s : f e :
the
f
bub - ble, It
n : n ; .PI
bursts at the
r : r : - .s
true and the
\ s : s : s
last - ing, The
d : d : . d s
true and
s, : s, :
the
l
last - ing, Our
S| : S| : .s>
thoughts should en-
S| : S ( I - .81 '
LONDON : J. CURWEN & SONS, 8 & 9 WARWICK LANE, E.C. PRICE FOUUPBNCE.
282
ADDITIONAL EXERCISES. PART III.
piu lento.
n : : n
r : t : - .1
s : s, : s,
f : n : r |d :
gold, All
touch'd with the
glo - ries Of
crim - son and
gold.
d :- :d
d : t, : - .t,
d : s, : s.
r : d : t|
a, :
clutch, We
grasp at the
bub - ble, It
bursts at the
clutch.
s : : s
fe : s : - .f
n : n : n
8 : 8 :f
n :
gage, The
true and the
last - ing Our
thoughts should en-
gage.
d :- :d
r : i, :-.BI
d :d :d
t| : d : BI
d :
THEME SUBLIME OF ENDLESS PRAISE.
KEY B7. M. 60.
Handel.
/ :
I '
d
t, : .r
r .d :d.t,
d
:
: \
Theme sub -
lime of
end - less
praise,
di : si
It
.1,
pii : TI
di TI
PIl U|
r *
**l w 1
Theme sub -
1 '1
lime
of
end - less
i| i
praise, of
end -
less
praise,
i
i
1
1
:
:
8|
:d
t, : .r
r .d :d.t,
Theme sub -
lime of
end - less
:
:
d, : s,
n,
: .1,
li .8, : S|.f,
Hi : S,
Theme sub -
lime
of
end - less
praise, of /
F.t.
1 d :s
n
: ,1
1 .8 :s.f
n : .s
8 .f
:f .n
r : n 1 .t
d 1 :
Theme sub -
lime
of
end less
praise, of
end -
less,
end - less
praise,
:
8|
:d
t, : .r
r .d :d.t,
1,
: .d
d .t, :t,n.r
d :
Theme sub -
lime of
end - less
praise
of
end - less
praise,
d :r
n
: 1.
n : t,
d : n
f
:d
8 :
r s : d 1
praise, of
end -
less
praise, of
end - less,
end -
less
praise,
Theme sub -
1, : t,
d
;
j
:
5
8, :df
n : .1
\ end - less
praise,
Theme sub-
lime of ,
.
; A : f n : . 1 1 . s
ft f PI : .s a .f : f
Theme sub -
lime of
praise, of
i
end - less
end -
less
:
{
;
8, :d
t|
: .r
r .d : d .t.
1, .r : - .d
Theme sub -
lime
of
end - less
praise,
t : .r 1
r'.d 1
:d'.t
1 .s : 1 .t
d' :
r
: s
s : - .n
d .1, : 1
lime of
end -
less,
end - less
praise,
Theme sub -
lime of
end - leas
1 .8 : 8 .f
n
: .s
f .n : r
d :
8)
:t,
d : n,
f, :-.fi
end - less
praise,
of
end less
praise,
/
St. Co. (New).
ADDITIONAL EXERCISES. PABT
283
f. B>. M. 69.
/ f : n r : - .r
d :- : : : ,
praise, of end - less
1 J i 4.
C| <1| t l| tQ Q t|
praise.
d :- : : :
praise.
n : : : d S| ; - , g|
of end - less
r : n .f s : - .f
praise, of end - loss
si : d S| : - ,S|
praise. f Just and
d : f,d, : - .d, r, id, : f| - .f| : n,
Just and righteous are thy ways ; /
j
S| : - . S|
li .S| : d .
:
Just and
righteous are
f ,di :- -d,
li .BI :d
righteous are
. HI : HI . T|,di
- .d : t(
thy ways,
li .t|,d: r .d
t| .d,r: d .ta
Just and
1, .Pl|,f|: Si . S|
right
right
- eous
. eous are thy
f 1 .Pli.rr. HI .d|
Just are thy
ways,
are thy/
- .d : t.
:
d :- .d
r .d :f
- .f : n
thy ways ;
r>i .r, : s,
righteous are
s, :
i ways ;
8| S| ,S|
- -s, :f,
thy ways,
d :- .1
Just and
Just and
: n, .HI
are thy
s : - .s
right - eous
d :
righteous are
ll .S| : 1, .t,
thy ways ;
d .5; : d
ways,
f .n : r
d :
ways;
are thy
ways ; Just and
righteous are thy
ways;
1
F. t.
, r s .i,t : d'.d 1
t .d 1 :d
are thy ways,
f .n : 1 ,Si,fi
t .1 :s .1
f :- .f
are thy
- :t, .t,
are thy
f .s ,f : n .r ,d
right - eous
;t ( n .n
Just and
right - eous
si .l,.t : d
ways,
d :
ways ;
,d :- .d
righteous are thy
ways,
id :- .d
r .d :f
- .f :n
r : - .r
Just and
d :
Just and
righteous are
thy ways,
are thy
ways;
St. Co. (Ntw).
284
ADDITIONAL EXERCISES. PART III.
f. B7.
/ t| .d : 1 ( .r si :
:
:
:
\
are thy ways,
: d :- .d
rl,. s, :d
- .d : tai
: li .1|
Si : - .fi,r,
Just and
righteous are
thy ways ;
Just and
right - eous
r .d :f - .f :n
. -n : n .r,d
r ,n,f : s .f
n .d :f
- .n : n .r ,d
righteous arc thv wavs ;
Just are thy
ways,
- and right*
- eous ; Just &
m
!
'd, :-.d,
\
Just and /
f. E7. B7. t.
: fd :- .d 'La :d>
- .d :t
d' : - .r 1
"'1 : r .,r
Just and
righteous are
thy ways,
are thy
ways; Just &
f ( .HI : r, s, :
*"id : - .n
f .n : r
n :- .f
d :t, .,t,
are thy ways ;
Just and
right - eous
are thy
ways ;
t| .d : t, .1, s, :
A s : s .d 1
1 : t
s : - .t
d 'f : s ,,s
righteous are thy ways ;
Just are thy
ways, Just
arc thy
ways ; Just &
r, .d, : f| - .f| : HI
.-|H : n .r,d
r .n,f : s .f
n : n .r
d fi :f .,f
\ righteous are thy ways ;
Just are thy
ways,
arc thy
ways ;
s : - .d
f .. :-.f
n :
n : - .n
n : n
n : n
n : ^
right - ecus 1
are thv
ways,
And thy
mer - cies
still en -
durc.
d :-.d
d :t|
u i ~~~~
n, : - .se.
li :r.d
t, :1,
se, :
8 :-.!
f :-.f
S . "~~"
d :- .r
n : n
r :d
t, :-
right - eous
are thy
wavs,
And thy
mer - c:os
still en -
dure,
n : - .f
r : - .r
d :-
li : - -t,
d : 1
se, : 1,
n, :
f. E7.
;
;
n : n
n :
r 1 : d 1
t : 1
t :d'
still en -
dure,
And thy
mer - cies
still en -
:
;
-in : - .n
n : n
n : n
;
:
:
rl :-.!
se : d 1
t : 1
still en -
durc,
And thy
mer - cies
still en -
' '
:
n, :n,
n, :
f,d :1,
n : 1
se : 1
F. t. m.
se :
f n : 1
s : 1
f :r
n :
t : d 1
t : d 1
dure,
And thy
mer - cies
still en -
durc,
And thy
mer - cie*
n :
rd :d
n : n
r : 1,
t. :
n : r;
n :
still en -
dure,
t :
r 'd' : d 1
d 1 :d'
t : 1
se :
se : 1
se : 1
dure,
And thy
mer - cies
still en -
dure,
And thy
mer - cies
, n :
fen : f
d : 1
r :f
n
:
:
st. Co. ,'yctvj.
ADDITIONAL EXERCISES. PART HI.
285
f.Bt?.
r : d 1 t
:- 1 :-.t
d 1 :t.l 1
:se.l 1 :
: <
still en - dure,
And tl
: n : - .1
y mer - cies sti
d :f n
1 en - dure,
: - .n n :
- 'd : 1,
Ev - er
se : 1 t
:- d 1 :-.1
1 : r'.d 1 t
: - .t d 1 :
:
still en - dure,
, n : 1 se
And tt
:- 1 :f
iy mer - ciea sti
d : r n
.1 en - dure,
: - .ri 1| :
'. 1
,81 : f i
pii,i'|.ri|,f| : 8| . t a
d| .d(,i"i :n<,f i.S|,n
l,,U,,t,:d, Sl .l,, S ,
fi,S|.Pi|,f,:ri,S|.f|,s.
faith - ful,
ev - - er
sure, Ev
" "
~
:
F. t.
/ d'g : PI
r :*f
n,r.n,f: s .t (
d .d,r :pi,f .s ,PI
1 ,s .1 ,t:d',s .1 ,s
Er - er
HI .d, : S| .d
faith - ful,
t| .S| . r 'il| >t|
ev - - cr
d,t|.d ,r: n ,s (
sure, Ev
li :d .n
f :n .d
or, ev - er
faithful, ev- er,
ev - - er
sure, ev - er
sure, Ev - er
f ,s .n ,f : r ,s .f ,s
n .d : PI .fe
s ,te.s ,l:t ,s .1 ,t
d' .t,l:s,f.n,r
n :s jn
r .d : t, .li,t,
- er, ev - er
d :d .r
faith
t|,l| ,ti,d:r ,t|.d ,r
- ful, ev - er
sure, ev - er
s, :d ji
faithful, ev - er
sure, Ev - er
d' :1
faith
s :f
- ful, ev - er
pi,r.n,f :s .t|
sure, ev - er
d .d,r:n,f.s,n
:
Ev - er
faith - ful,
ev er
sure, Ev
i
yd :f .r
*fc' :
',
*
d :1
sure, ev - er
f :1, .f,
sure,
s,r, :t| t,
d tl.-s.f.n,!
p.r.n.f.-i l,t,s,
Ev - er
d .1, :d, .f,
sure, ev - er
1 ,s .f ,n : f ,s .1 ,t
sure, Ev - er
d's .f ,n :r ,d .t|,l|
faith
s :n
- ful, ev - er
f ,n .f ,s : 1 ,3 .f ,s '
f
- er, ev - er
*! :f.
faith - ful,
ev - er
d| ,di,r, :ni,f|.S|,m (
faith
li,S|.f ,n|:f|,S|.li,t|
\ Ev - er
faith - ful,
ev - er
sure, Ev
er
St. Co. (New).
286 ADDITIONAL EXKRCISES. PART III.
. :f
faith - ful,
d :li .r
n,r.n,f:s .t ( d .d,r:n,f.s,n
l.s.f.n:
f .s
er
d .S|
n :
sure,
81 :
ev - er sure, ev
d : ti .t| 1, :s, .si
f. :"
sure, ev
n ,f .s ,n : 1
- er
.8
ful,
.t,
er,
sure, ev - er sure, ev - er
s ' .n n :n .n
ev - - er sure, ev - er
d,ti.d,r:n ,BI l.S|.l|,t|:d .d
sure,
i :
sure.
v - er
d .r
ev - er
er
sure,
n :
sure,
d :-
sure,
d ,r .n ,d : r
ev
ev - er faith - ful,
ev
.
.
; i ;
.
d :1,
8, :f|
:
:
:
d : 1|
Ev - er,
si :f t
ev - er
r\\ I d|
i
.
d :1
8 :f
Ev - er
n :f
faith - fill,
n :
ev - er
d : 1
d :d
d :-.d
And thv
d :d"
mer - cies
d :-
still en -
dure,
ev - er
And thy
mer ciea
still en -
dure,
i r\\ :
sure,
d :
8 : n
Ev - er
d : s.
r :d
faith - ful,
t| ! 8|
: n
ev - er
t, :d
t :
sure,
t, :-
: n
ev - er
d : s,
r :
sure,
ti :-
sure,
8
d :n
: n
r :d
s :
n : d
s :
sure,
Ev - er
HI : d|
faith - ful,
81 :s,
ev - er
8, : si
sure,
s, :
ev - er
sure,
And thy
mer - cies
still en - dure,
/ s : n
r *
.
.
ev - er
ti : d
sure,
ti :- d :1|
a
i : f
ri|,r|.nifi: BI . t,
r :d
ev - or
Ev - er
8 : f :d .r
are, Ev - er
1| J f |
faith - ful,
n .s, : 1| .ti
ev er
d ,t,.d ,r : n . si
faith ful,
d :
ev - er
ev - er
sure.
St. Co. (NtwJ.
ADDITIONAL EXEECISE8. PART HI
287
1
d| -d|,ri : n,,f| .s ( ,n/
1 :'' d 1 '
Ev - er
1,,8, .f|,n, ;f,d,r.n,f
r : s
faith - ful,
s .S|,l ( : t|,d .r ,ti
B7. t.
s :i"'l ^
ev - er
d,r .n,r :"1 ( ,f (
sure, ev-
il .l,,t, : d,r .n,d
f.s .1,8 rin'.r'.d'.ri
er, ev
t,l .t,d' :r',d'.t,r'
- er
s :d
sure, ev -
f " :'l
Ev - er
s" :f
faith - ful,
er
n ,T ,d ,t| ;d f |,S|.l|,t|
faith
s
faith
HI
d
sure,
d .8,
f
still
t|
r
S|
f
ful,
t,
ful,
: n
en
:d
:d
: 8|
ev
d
ev -
d .d|
r
dure,
t,
S
dure,
3|
;r 1
s :f
er
faith - ful,
1
t, :-
s
: n
;r
5|
sure,
s, :
And
8|
thy
:d
1
r '. ~~"*
t,
:d
jr
vj.
sure,
s, :
And
l
thy
: si
jr
sure,
Adagio.
f :- .f
f :PI
r :
Ev - er
d :- .d
faith - ful,
S| : d
ev
d :
f :- .d
r : s
s :
Ev - er
1, :-.!,
faith - ful,
ti : d
ev
si :
mer -
t,
S
mer -
:d
cies
: n
cies
sure.
d :-
f .,n n :
er
- . s,
sure.
d|
THE WOODS.
KEY A. Andante con moto. M. 80.
Be-
,n :
Be-
,d :
8|,"t ,d
ti
:l,r
,li
in
,1,
in
,d
: 1,,1 ,r
ti
drest,
Si
f
dre.st,
d
hold the
S|( 48)
n t ~ ,n
hold the
dr ,d
woods
8|
: fu-
ver-dure
: l.r ,1.
: f r ,f
ver-dure
: d ,- ,d
n
ll''
woods
d
,-,r :f,-,l
Theheav'naa
,- ,t| : ti,- ,t,
,-,f :r,-,f
Theheav'nsa
- d : d ,- ,d
s
Mendelssohn.
~ r n r i- in
-gain
d
n
are
:- :t,
: - ,- ,s : f ,- ,s
-gain
d
are
: 8) : s.
St. Co. (New).
288
ADDITIONAL EXERCISES. PART III.
E. t.
d : -,-, :"
1
I,-
,s :
1 ,- 4 s : 1 ,
-.8
s : -
__
s
f,-,n:f,-,f
: 1 ,- ,f
bright: Re -
d .-.si: 8,4-48. : B id,-,d
bright : Rctum-ing Spring in
turn - ing
r :
-spires
t :
Spring inspires the
: r
the
~~ V
breast, Re
s ,- ,d : d ,- ,d : d ,- ,d
breast, Return - ing Spring in
d A * A ~ ft *fi ft
4 40 . a i 413 a ^ 40
turn-in^ Spring inspires the
d : : t|
-spires the
1 :- :f
'. bright : Ri turn-ing Spring in
I d,,-,d:d,-,d :df-,f
-spires
f :
the
. f
. i
breast, Return - ing Spring in
n ,- ,n ; n ,- jn i n ,- ,n
-pfa-es
r :
. ^ h2 /
d. f. D. L is B.
fs : fe ,- ,r' : d' ,-
t
T~~ "":
t
: n
de
: r
-
d 1
light,
d
dim.
: - ,- ,t : 1 4- ,s \
With hope and
: - ,- ,r : n ,- ,n
breast With hope and
d r : - ,- ,f : n ,- ,f
calm
n :
it : 1 ,- ,
se : 1 ,- ,r'
d 1 :
r'
: se
de
: n
-
1
light,
1,
: - ,- ,86 : 1 ,- ,d'
With hope and
:- ,- ,ti :d ,- ,d
breast With hope and
dr : - ,- ,t| : d ,- ,r
calm
n :
A. t.
>d : n ,- ,r
: d ,- ,t|
d :- :-
light,
81 4- 8| : 1, ,- ,si : li ,- ,s,
light, With hope and calm de -
~ ~ 1^1 : f 4- ( r : d ,- ,t|
With hope and calm de -
f , : - : -
d"
light,
n.
calm
calm
tn :
calm
1-8, :
de
: s,
de
:f
de
: si
-
light.
r
^
: s
light, With hope and calm de-
d ,- ,d, : d| ,- ,d, : d ( ,- ,d|
light.
d|
:
:
: i ,S| : s,.n ,d
ti
:1
<:
li : li.f ,r
ti :-r
f :- -
men,
d :-,-
-,8s : -
,r :f
,-,1 t
: - .- ,n
: r 4- ,n v
For -sake the
: , ,s, : 81,- 4 8|
: , ,n : n 4 - ,n
For -sake the
: 4 ,d :d r 4 d
fi
d : - ,- , : n
bus
Bj
y haunts of
: f i,- ,1| : 1|,- ,1,
Thou child of 1
,t, : t|,- ,t| e
,f :r,-,f r
x>il
.
i :--,s
and
: t
:frj
n
:f
,-,
f : f ,- ,f
bus
d
E. t.
lr
y haunts of
,8 : 1 ,- ,8 : 1 ,
Thou child of 1
,d : d ,- t d c
oil
8|
and
: s,
: s
eres.
f ,- ,n : f ,- ,f : 1 ,- ,f
care,
d ,- ,S| : 8| 4 - ,8| ; 8
Come,
d,-,d
roam the shady woodland
r : : r
glen,
s ,- ,d : d ,- ,d
Come,
roam the shady woodland
caro,Come, roam the shady
wood
t
land
__ *
glen,Come,roamthe shad}
d 1 ,- ,8 : s ,- ,8 : s ,- ,s
1 wood
1 :-
land
:f
|care,Come, roam the shady
d l ,-,d:d,-,d :*f,-,f
wood
f
land
- :f
glen,Come,roam the shadj
n 4- ,n : n ,- 4 n : n ,- /i
wood
r :
land
: r
St. Co. (Newj.
ADDITIONAL EXERCISES. PAliX III.
289
d. f. D. L is B.
fs : fe<- 4 r' : d ,- ,
t 1 : t : n
dim.
d' : - 4 - .t : 1 .- ,s
air, And breathe the
d : - ,- ,r : n ,- ,n
1 : - ,- ,se : 1 ,- .d 1
air, And breathe the
li .: - - ,t| : d - 4 d
- ,- ,t : f ,- 4 r : d ,- ,t| d
And breathe the balmy air.
glen, And breathe the balm y
dr : - ,- ,f : n 4 - ,f n : : r
it : 1 ,- ,se : 1 .- ,r' d 1 : r' : se
glen, And breathe the balm y
dr : - ,- ,t| : d 4 - ,r n : : n
A. t.
1d : n ,- 4 r : d .- ,t| d : :
balm - - y
*8| : : S,
balm y
tn : - : f
balm y
rs, : : s (
/ : 4 ,s, : S|,n 4 d t| : 1
air,
air, And breathe the balmy
n ,- ,n : f ,- 4 n :,-/)
air, And breathe the balmy
d 4 - 4 d| : d| ,- ,d| : d| 4 - ,d,
,-,1. : li.f ,r t, .-.-.
air.
r : : s
: r ,- ,n ^
air.
d, : - : -
r : f - ,1 s : - ,- ,n
Hereo-dours float,
'. | ,S| ' S||~ 4 S| Sj
and zephyrs play, ( )n rnoi'ning's gold
en
t|
:fr,s'
m m mm f f f f f
. 4 (Tl n 4 (PlPl I 4 ~ 4 l A 4 ~ 4 I i . 44
f : r ,- 4 f n : - r ,s
Hereo-dours float, and zephyrs play, C
i A ' d ,- 4 d d : - ,- 4 d : d ,- 4 d d '--
p E. t.
d .-,-, : m l 1 .-,8 : 1 4 - ,s : 1 4 -,s s :-
beam; With them thy grief swill pass a -way,
d t - ( S|: S| 4 -,S| ; s |d,- 4 d r : :r s 4 - 4 d:d
4 beam jWiththemthygriefs will pass a - way, "With t
n m* m. pi ' PI 1 1 t* * ' f" H 1 Q Q
t *'''* i' ' ^ 4 i "^ " " i IP
l>eam;Withtheinthygrief swill pasa a - way, With tl
d (4 - 4 d : d ,- <d ;d f , ,f f : : f n ,- ,ri : n
d. f D. L is B. -> -^^^
f s : fe ( - ,r' : d 1 ,- 4 t 1 : t : n
>n morning's gold
d : d ,- ,d d : s\
en
: s,
cres.
: s f r * : * r / : 1 r \
With them thy grief will pass a-
,- 4 d : d ,- 4 d d : t|
lemthygriefswill pass a
,-8 : s-,s 1 : : f
iem thy grief s will pas* a
4 ,n ; n 4 ( n r ; t r /
dim.
d 1 : - .- .t : 1 ,- 4 s
dream, And van - ish
d : - ,- ,r ; n ,- 4 n
~ i~ 486 : 1 ,- ,d
dream, And van - ish
li ~ r ti id,- 4 d i
way, And van -
dr : - ,- ,f : n ,-
it : 1 ,- ,se : 1 4 -
ish liku a
,f n : : r
,r d 1 : r 1 : se
way, And van -
ish like a
4 r n : : n
St. Co. (New).
290
ADDITIONAL EXERCISES. PART III.
A. t.
d
: n ,- ,r : d ,- ,t.
d :- .-
dream,
Si - iS, : 1, ,- ,si : 1| ,- ,8 (
dream. And van-ish like a
n ,- ,n : t ,- ,n : f , ,n
dream, And van-ish like a
<O
And van -
f. :
r : d ,- ,t|
ish like a
d"
dream,
n,
like
r s,
like
tn
like
a
: : s,
a
:- :f
a
: : s,
dream.
r
:
: s
dream.
d, : - : -
HOME, O WHERE IS THY BLEST HAVEN.
Words by Music by
Oeorgt Bennett. O. JietcJtardt.
Arranged for mixed voices* by ALKHKD STONB.
KEY 0. M. 64. TBNOK SOLO.
I :
n : n I : f .,
: n
: 1 :
d 1 :-.t |t. l:l.s
: 1 :
s :f | :n
: 1
re : | re
Hm.
: n
n : ! : n
r :- |d :-
: 11,
:
: n
d 1 :-!-:!
1 :-|-:-
:? |-
: t .1
Hm.
: n
1 :- |- :d
r :- |n :-
f : If
J
Home, O where is
' :-. /*{*'. r'ltP.t
Sever 'd now from all I
love,
thy blest hav- en!
PP
I
n . 1
Hm.
1
d :- I- :-
d :-
:
t, : n : se
1 :-[-:-
se : | :
1 :-
:
se : , t : n 1
Hm.
. 1
St. Co. (Nva.)
Muy be sung in key A?, by A.T.B.B.. and Baritone Solo.
ADDITIONAL EXERCISES. PART III.
291
/ i fi ' ra' *' ! x f'
J " 1 * /
All that with dear life is
PP
t .!:
wove,
d 1 : | s : n
Far a
1 :-
i
8 . |
Hm.
r 1 :- |f ir-
is :- |- :-
s : n : d
n 1 : |d' : 8
d : :
r :
1 :-
f :-
crav - en. mf
n , ;_J ru ,; du
t : 1
f :- |n :s
Hm.
s : | :
n : : s
s : : d 1
f :-
d 1 : -
- :- Id :
: 1 : '
d : : n
f :-
t : I
1
In
Hm.
fo - reign lands I am a
PP ^
S ""*" """"
stran - ger,
j .
n : | :
n : | :
r :
s : | :
Hm.
(r 1 : rf 1 I :
1
d 1 :- - :-
d : - :
f :-
r 1 : <*'
greet - ing,
Words of welcome are re-
peat - ing,
:- 1- :s
Hm.
86 '. ~~~ \ I ~~
i .
L
In : I :n
[d 1 :- 1- :d'
Hm.
ild :- I- :d
f _ 1
r f .
t. .
. *
n :
d 1 :-
St. Co. (New.)
Ir'.r'rn'.r' r\_
away I toil with spi
No
I .
I- It
rit
I :
If :-
Ir' :-
: s
lov'doneshere withkindly
s :- |- :-
f :- !- :-
t. I .
d 1 ;-.t\l.l:t .1}
Coldness haunts the unknown
- :- !- :t
f :- I- :-
292
ADDITIONAL EXERCISES. PART III.
n \ : _|_:_
' :- I
;
: :
T :-.t\# :-.r'i
ran ...
ger.
Shall I ev - er
86 : t | : 86
Hm.
n : se I : n
n : f ./i | n
: r
: f ./i | n : i .,n
d :- r :-
n : n | : n
d :d |- :d
t :n' | :t
Hm.
se : 1 .,se| se
:t
1 : |se :
1 :1 I- :1
n : n 1 :
n : | :
One sweet form I lov'cUo
: n | : n
d :d |- :d
n : | :
well?
n : ~Tse~: t
t| : |n : se
n : n | : n
Tell me,heav'n,my spirit
ft?
t, ,
~ ~~
s : | :
have to cheer me,
: n | : n
Hm.
r : r | : r
se : se | : se
Hm.
: n | : n
:n |-
: n
se : 1 1 : n 1
n : | :
r l ; _ | f 1 ; r l
8 :- 1- :- /
toll,
' : - .r'Jr'.r 1 : w'.r
Point the homo that I may
r 1 : rf 1 | : t
have her
""r':- |* : ,
near mo.
d' : |s :n
Hm.
- : In :d
1. i
r : |
II
S ~"~ | "~~ . ^
n : |f :
t : |d' :'s
f : |n : n (
n 1 : | d 1 : s
Hm.
d :- | :
1 :- 1-
f :- 1
:
. :- ,- :-
i
s :- |- :d' '
8 : Id : d 1 1
: 1 J j_ 1 ^
Hm.
s : | se : n : | f :
ftp
: 1 | : se 1 :
n : |r : d :
n : d :- |-
d : !,:-!-
n 1 : - |r' : d 1 : |r' :
Hm.
d 1 : | n : 1 : - | r : -
d 1 :- |t :- 1 :
n :- |- :- 1, :-
1 : n :- |-
- :- 1, :-|-
St. Co. (New.)
ADDITIONAL EXERCISES. PART III.
293
KEY
: s
D. THE STOTTT-LIMB'D OAK.
s :1 |s : - .s d'.t:l.s|f : :-.f|n.n:s.s
/. Dcwby.
d> :-.r'|t :-
The
: n
stout -limb'd oak that long has borne Th' unnumber'd shocks of
n :f |n : - .n l.s:f.nl.r : :-.r|d.d;r.r
win - try skies,
n. : f e 1 s : i
The
:d
d 1
d 1 : d 1 |d' :
: -.pi'lf'ji 1 : r'.d 1 t :-.s|s.s:s.s
s :1 |s : f
win - try skiee,
1, :r Is, :- j
n |r : - .r \
stout -limb'd oak that long has borne Tlr unnumber'd shocks of
d :f |d : : -.d|r .d : t,.l s, : -.s,|d.d : t|.t (
:d' .d 1 Id'.t.l :t .s
d 1 : n 1 |1 : - .r 1 '
a., t.
Lift
ing its head with dauntless
: I :
scorn, The wind's tu -
: 1 :
n' :d* |f :r'
mul - tuous rage de-
ad : d .d |d .t|,l ( : t, .s,
Lift - ing its head with dauntless
s d : - .n | s : f
Lift - ing its
: 1 :
head with daunt - less
: 1 :
scorn.
The wind's tu -
1 : 1
d
:- .d |d :f
i
f : n |r .n,f : s .f
. D.
- \ .r 1 :r' .r 1
. fies,
\ d
. scorn,
f n
mul
The wind's tu -
: n 1 1, : - .r
The wind's tu -
:d |f :r
tuous rago de -
mul - tuous rage de -
t, :d |d : t,
mul - tuous rage de -
fies,
: 1 :
fies, The winds tu-
d s : | .t : t .t
fies,
Lift - ing its head with dauntless
s : s .s | s,f.s,l: s,f.n,r
/ n 1
tr
:n> |f :r'
d 1 :- | :
A. t.
r's : s .s | s,f.s,l: s,f.n,r\
mul
d'
- tuous rage de -
: s |f : - .f
fies,
s : | :
Lift - ing its head with dauntless
tpi : n .n |n,r.n,f : n,r.d,t (
fd 1
: d 1 .d 1 |d' .t,l : t .s
d 1 :n' |1 :- .r 1
tn : d | s, : - .S|
Lift
d
- ing its head with dauntless
: |r :r .r
scorn, The wind's tu
n :d |f :r
- mul - tuous rage de -
\ scorn,
Lift - ing its
head with daunt - less
scorn,
n
scorn,
d
:- .n |f :- .f
The wind's tu -
:- .d |r :- .r
n :- |f :-
mul tuous
d : :r
f :n |r : - .r \
rage de -
r : d 1 : t|
d
' - i :
.s |1 :- .f
s : s | s : - .s
fies,
d
:d .d |d .t|,l,:t,.s,
The wind's tu -
d : n | 1| : - .r
mul - tuous rage de-
t( : d | si : - .si
Lift
ing its head with dauntless
scorn,
/
St. Co. (New).
294
ADDITIONAL EXERCISES. PAKT in.
1st time. 1)0. 2nd time. $
fies nos.
sr' : | r' :
fies. fies.
\
t :t |d'.t :d'.n'
course, its buoyant course It
86 : 86 | 1 .86 : 1 .86
: n 1 1 .n : 1 .n
its buoyant course It
: | : .d 1 r'.n'if
n'.r':d'.t
And should it
n'.r':d'.t
tr
1 :s If :
fall, and should
1 :s |f :
1 :s |f :
fall, and should
1, :( If, :
I- .d',t:d'.r'
-.f
it
-.f
-.f
it
-.f,
d'.t
n : -.d'|t .d 1 : r'.d'\
fall, its buoyant, buoyant
n : -.1 Ise.l : t .1
n :- !- :-
fall,
: 1 .se |1 : - .
n'.r'-.d'.t
And should it
n .r : d .t|
n 1 .r',d': r'
guides a -long the
i : - .1 se.n : - .f
roll -
n .r
ing waves,
:d .t, |d :- .
f :-
guides
.n'ir'.d 1 : t
f |f .se :1 .r
n
roll
: .s
the
: .n
: I : .d'
the
:- .n |1, :- .1,
ing waves,
1 .t: d'.t |1 .s:f .n
a - long the
Is: |
the
: : .s
l.t : d'.t |1.8 :f.n
roll - - ing waves,
t.d':r.d'|t.l:8.f n : |
> roll - - ing
f .s: l.slf .n:r.d
r :
waves,
t, :
s*
:r'
pest
: 8
: t
pest
1 :
1 :
r n .f : s .f In .r : d.t
1, :-.l|l :1 (
waves, the roll - ing
roll - - ing
f .:!. |f .n:r.d
the roll - - ing
.t, d .r : n ,r| d .t,: l,.s
n : |r
d' :d' ..d'ld' : f '
And though assail'd with
d : d .,d n : f
n : i .,i s : t
And though assail'd with
d :f .,f n :r
8. (
d 1 : - .t,l|t : t
still it braves, The
8 : f e s : t
1 :- .r' 'r' : r'
still it braves, The
d : r ; s. : s
n 1
e
8
d'
e
d
1. f. F.
d'l.s
roar
d'l.s
d'1.8
roar
d'l. 8
: d 1 |d' : f '
?ual force The
Id :r
: 1 |s : t
?ual force The
In :r
: f .n |f,nr,d:r,d.t|,l
- ing tempest still it
: f .n |f,n.r,d:r,d.t,,l
waves,
d ' 1 1,
8 : 1
waves,
8, :
,n" :- Ji' |r'
roar - ing tern -
n .8 :- .d' |t
1 d' :- .d 1 |s
roar - ing tern -
d,t|.d.r:n,r.n,fe|8
: f .n |f,nj.d:r,d.ti,l,
- ing tempest still it
St Co. (Nm).
ADDITIONAL EXERCISES. PART III.
295
D. t. m. 1. tr
"s :- | :r' n 1 : n 1 [n 1 :r d 1 : |t : d 1
D.S.
braves, The roar - ing tern - pest still it brav
se,t| : | :t d 1 :d' Id 1 :1 s : | :s s
08.
t ( r : - | : r d 1 : n< | s 1 : f ' n 1 : - | r 1 : n 1
:
braves, The roar - ing tern - pest still it brav
"18, : I : s d 1 : 1 | n : f s : | : s, d
Be.
Words by MORNING PRAYER.
/. S. Stallybrass. Music by
KEY C. Adagio. M. 69.
1 II 1 1 .PI X* 1 ' 1 1 1 / 1 f
:s n 1 :-jr|r :d f i-.f'ln 1 : r 1 s :l.,f|f :n
Mendelssohn.
PP
f : f |n : -.PI
A sol - emn calm, a si - lence ho - ly, Now lies on all thing!
:n s :-.s|f :n 1 :-.l|s :s s :1 .,f | f : n
i far and nig
n : r .,d | ti
h; The
: -.r
: d n 1 : - .n'| t : d d 1 : - ,d'| d 1 : t s : 1 .,f | f : n
1 : t .,1 1 se
: -.se
A sol - emn calm, a si - lence ho - ly, Now lies on all thing
:d d 1 :-.d'|s :1 r :-.r|s :s s : 1 .,f | f :n
i far and nig
r : r |n
h; The
: -.n
cres.
1 : 1 1 1 : se
d 1 :d' Id 1 :t .1
tf dim.
rl 4- 1 c 1
L | o f 1
s : - ,s | s
: \
woods a - lone are
d ,r : n .f | n : - .r
bend - ing low - ly.To
d .n : 1 .s |fe :fe.l
greet their Ma - ker
s : f | n : ria
pass - ing by,
r : f |n :
_ -
l.t:d'.ri|d' :-.t
1 .t : d'.n'l 1 :r' .fe
s : - ,s | s : d'
greet their Ma - ker
d" : t |d'
pass - ing by.
- -^
: - .n
To
woods a - lone are
bend - ing low - ly,To
( 1, : 1, in : - .n
- : 1 :
: .f|f :n.,r
1 .s : fe.nl r :r .d
P
s : - .s | s : s
Ma - ker pass - ing
r :-.n|f :f
Ma - ker pass - ing
d :-.d'|d' :t
8 : s ) . a
s, : s, \ '
s : |
n : |
by. >
:-.d'
8
I
n
d'
""TTd'l d 1 : t .,1
To greet their
d : ta | 1 : na
Ma - ker, greet their
s' : f '.,n'| f ' : d 1
f To greet their
n 1 :r'.,d|t : - .s 1
greet their Ma - ker
pass - ing by, their
Ma - ker pass - ing
by.
I
( d' : t .,1 1 s : - .f
n : r .,d | f : f e
s :-.\\fc } \\ t \
d :- |
d t
St. Co. (New).
296
ADDITIONAL EXERCISES. PART III.
n 1 :-.n'|r' : d 1
feel my bo - ing
s : - .3 1 f : n
f : - .f 'Tn r Tr l
new - cre-a - ted,
1 :-.l|s :s
P }
s : 1 .,f | f : n
Where is the care, the
s : 1 .,f | f : n
op
f : f | n : - .n \
tor - ment gone? Thej
n : r .,d 1 1| : - .r f
n 1 :-.n'|t : d 1
d 1 : - .d'| d 1 : t
s : 1 .,f I f : n
1 : t ..1 1 se
: -.se
feel mv be - ing
\ d 1 : - .d'| 8 : 1
new - cre-a - ted,
r : - .r | s : s
Where is the care, the
s : 1 .,f | f : n
tor - ment gone
r : r |n
? The
: -.n
cres.
1 1 :1 |1 :se
d- : d 1 |d' : t .1
if dim.
s : - .s | s
'. ~~ \
fears that late - ly
d .r : n .f |n : - .r
o - ver - weighted.Re
d .n : 1 .s |fe : fe.l
-tiro a - bash'd bo -
s : f ! r, : na
fore the Dawn,
r :f |n : ,
l.t:d'.r'|d' :-.t
1 .t : d'.n'l 1 : r'.fe
s : - .s | s : d 1
d 1 : t |d'
- .
: - .n
fears that late - ly
o - ver - wcighted.Re
-tiro a - bash'd bo -
fore the Dawn, Re-
1, : 1, |n :-.n
1 . s : f e.n | r : r .d
t, :-.t,|d :j%
Si '. 8| j
:-.d
/ - : ! :
"~T~~^d'| d 1 : t .,1
P
s : - .s | s : s
8. _
. |
s \
I : . f | f : n .,r
Re-tire a-
d : ta 1 1 : na
bash'd, ro - tiro a -
s' : f '.,n'| f ' : d'
bash'd be-fore the
r :-.n|f :f
bash'd bo -fore the
d' : - .d'| d 1 : t
bash'd be-fore the
Dawn,
n : |
Dawn.
d 1 :- |-
Dawn.
The
n
s
The
Re-tire a-
tire a - bash'd bo
-fore the Dawn,a -
d|_2l.Hi :-<
n : r .,d | f : f e
8 :-.S 8 ! 8 :8 j
fill s, : BI )
d :- |-
d
n 1 : - .n"1 r 1 : d 1
f r-.f'Tn 1 Tr'
1 /
s : 1 .,f | f : n
ip
f :f |n
: - .n \
world, with all its
joy andsor - row,
1 :-.l|s :s
Is . but a bridge o'er
s :d.,t,|d : d .n
time's deep flood, Thati
n : r | de : - .def
J I , J U ^| % 1
f :-.f'|d' :t
d 1 : d'.,s |s : s~~
1 : 1 |1
: -.1 (
world, with all its
d : n | s : 1
joy andsor - row,
r :-.r|s : - .f
Is but a bridge o'er
n : f .,r | r : d
time's deep flood. That
fi : f|.8,| 1, : -.s /
cres. f
\ : 1 |1 :se 'd' : d< |d' : t .1
cres.
r' :f |n' : - .r
d 1 :r'.t1s'
. _^ ,
I, a cheer -ful
de.r : n.f |n : - .r
pil - grim, bor - row,To
d .n : 1 .s| fe : fe.fe
boar me to m>
8 : - .8 | 8 : 1
home and God.
8 : - .8 |S : f
1 .-rr'lt :-.t
TTt : d"7ni 1 : r 1 .r
r 1 :-.r'|n' rd'.r'
bear me to my
t :-.t|d' it
n 1 :t.r'|d'
home and God
s :f |n
j
: - .n
To
I, a cheer - ful
f : n.r|n : - .n
pil - grim, bor - row, To
l.s:fejn|r : r .d 1
St. CoTfNcw)
ADDITIONAL EXERCISES. PART III.
297
/ : I :
: .f |f :n .,r
~T~.d'|d|_ :t .,1
To bear me
d : ta 1 1 : na
f>
S* o 1 c c
. . a | a . s
to my homo and
r :-.n |f :f
. :- \?
God.
n :- |-
To bear me
n' :r'.,d'|t- :-.s'
to my home, my
s 1 : f .,:V| f ' : d'
home, my home and
d 1 :-.d'|d' :t
God.
d 1 :- |-
boar me to my
d 1 : t .,1| s :-.f
home and God, my
n : r ,,d | f : f e
home, my home and
s - \ s 1 * : *l
'foils, : t \
God.
d :- |-
YE SPOTTED SNAKES.
KEY A.
Andante. M. 96.
S. J. S. Stevens.
mf
Id :t|.d
l-.t| : d ;r
:n.f
f
: n |n :
- .n
n.r : d.t|| t : 1
i s, : | :
Vo spotted
snakes with dou- ble
f, : S| |1, I S,
tong
S|
ue, Thor
-ny
S|
hedge -hogs be i
Lot seen ;
GI s, \p | :
n :r.d
d :d |d
: ti
d
:- |d :
d
r : n | r : -
- .d t, : s I : f
Ye spotted
\ | d| :r|.ri|
snakes with dou- ble
fi : n. In : s,
tong
d,
ue, Thor-ny
:- |d :-.d
hedge-hogs be
t( : d |r : i
not seen; Newta and
P
'i si : |1| :-.r
P
E. t.
cres.
:
1 :
: r
;df
f
: n | s : s
s : 1 1 : -.1'
fa
| : tai
Newt
ta, : 1
s and
ta, ;l,r
blind worms do no
r :d |f :ri
wrong ; Come not
PI : r |f : - .d
Newts and
f :n |f :r
blind worms, newts and
. t| : d |r : - .81
blind worm.
s :f
blind worm
Pl| : f
j, newts
s t ^ 1
3, newts and
t : d 1 | r" : d 1
blind worms do no
s : 1 |t : d'
d 1 :t |d' :-.d'
wrong ; Come not
s :- If :-.f
s .n :
r .d |f
: n
: s
n
: r
is
: r n .f
e : s | s : f e
our fai - ry
: r |d .r,n: r .d
near
d :
s :
our fai -
d It,
s | s
queen,
d : t|
Come not near
|r :r d
I s : - .s s
s
:
: s 1 1 : 1
near
n :
our fai -
n |r
ry
id
queen,
8| :
Come not near
It, :- .t, d
our fai - ry
t| | 1| r j
St. Co. (New).
298
ADDITIONAL, EXERCISES. PART III.
queen,
d :
s :
queen,
si :
Con upres.f)
Is, :-.s,
Phi - lo-
l,.t,;d |r :n .f
mel with mel - lo -
:
: 1 :
f
f :n
1 :
d .1,
dy, _
|n .r : n .d
Sing
T :& \- :
in
fe
Sing in
your sweet
P
:
\ :d
: t| | 1, :
Sing
in your
P
: |f.n:f.r
n .f e : s | s : f e
cret.
s :- |f.n:f.r
n .f : s .1 |n : r \
Sing in
t, :d I- :t,
your sweet lul - la -
d : r |n : r
lul-la - by, sing,
cret.
by, sing in
f .r : n .d| 1| : si
your sweet lul - la -
your sweet
s .f : n |r : s
sing in your,
t : d 1 | : t
lul - la - by, sing,
s, :- 1- :-
sing in
d :t, |1| :-
your sweet
cret.
s, : |r :
lul - la, lul - la-
d .r : n .f | 8 : si
sweet
lul - la - by,
sing in
your sweet lul - la -
P
d :n.n|f .f : r .r
PP
8 : d .d|r .r : t,.t
/> '/
d : ' |s :f.n
1 :t.d'|r :n.f
by, lul-la, lul-lajul-la-
d : 8|.8|| !,.!,: t,.t.
by, lul la, lul-la, lid-la-
A 1
by. Nev - er
s, : |d : r .n
harm, nor spell, nor
f :d |d : t,
n : !?:.
8 : n .n|f .f : r .r
n : |s .1 : t .d 1
d 1 :t.l|s :s
by, lulla-
d : | :s.8
by, lul-la, lul-la, lul-la-
by. Nev - er
d : |n : r .d
harm, nor spell, nor
f :f |s :s
f : n |B : f .n
poeo cret.
1 : - ,s|f .n : r.d ir : |s : f .n
dim.
1 :- |r :s
night, so good
d : - | d : t,
f :- |s :s
charm, Come our
d : |d : r .n
love - ly la - dy
f :d U.-dis,.!,
nigh , So good
d :t, |d :d
1 : |n.s:t.d'
d' :-.! :-.fe
s : |n : f .8
charm, Com* our
1, :- |n ;r.d
love - ly la - dy
f :-.n|r.d:t,.l,
nigh ; So good
s, : |n : r .d
night, so good
f : - | 8 : s
St. Co. (New,.
ADDITIONAL EXERCISES. PART III. 299
/ f : n
P
Id 1 . :d'.
so good
d . id.
s. : 1.
d 1 :-.n.f .r:d.t|
night, with lulla, lulla-
d :-.d|d.r:si
with lul - la -
s : - .s 1 1 .f : n-.r
PP
d : n .n| f .f : r .r
by, lul-la,lul-la,lul-la-
dim.
8 :d.d|r .r : t|.t,\
by, lul-la,lul-la,lul-la-
d : | :s,.s,
dim.
s :n .n|f .f : r .r
night,
d :
1 :-
by, f)p
n : I : s .s
night, so good
1, :- n. :f .
night, with lulla, lulla-
n : -.d|f : s
by, lulla-
d : ( : s .s
by, lul-la,lul-la,lul-la-
n : i :si.s,
\
with lul - la -
by,
f. A. D.O.
*
: 1 :
f. D. mf
: 1 8 ( r :n.f
s .f : s .n|f .n : r .s
by.
8 .r, :-
mf
r, :n,.f
S| in, | f i : T(
spi - ders come not
d : - .d|d : t|
Weav-ing
n, : hit, : d .r
spi - ders co.i e not
n .r : n .d|r .d : t|.r
Weav-ing
t, : d .r
here,
d :- |d s :-.f
n : 1 i r : s
/ f :n
Weav-ing
s, :-.f
spi - ders come not
here, Weav- ing
d : | :
ff
\ : s 1 : s
spi - ders come not
1 :1 |s :f
t :
d' :-.t|l :s
here,
r :d
Hence,
f :
r' :
Hence,
Ids :
hence, ye long-legg'ii
n : - .n|d : d
d' :-.s|l : d 1
hence, ye long- legg'd
d : - ^ |f : n
spin - ners, ye
d :d |d :-.d
hence,
d 1 : d 1 | : n
spin - ners, ye
f :n | :d
long- legg'd spin - ners
d : r |n : r
f :f Id' :s
long- legg'd spin - ners
f :r |s : s,
d :
here,
:
d. \
n i-f>
hence !
d :-
p . C. L is A.
81 :1
Bee-ties
t :t |d' :r
black ap - proach not
1 : se 1 1 : 1
eres.
n 1 : 1 1 : t
near ; Worm and
1 : se | n : f
d 1 . : - 1 1 : -
snail do
n :- |f :-
s :-
hence !
d :-
tad' ;d"
Bee-ties
1 :1
t :n' [n 1 : r 1
black ap - proach not
n : n 1 1 : f
d^TT |s : s
s : 1 1 : r 1
near ; Worm and
n : |n : r
snail do
d :- |s :-
ores.
1 :-
no
n :
d 1 :-
no
1 :-
at. Co. (.
: 1
of -
d' :-
of
New).
1 : se | t : t
fence, worm and
n : 1 n : se
t : | se : n 1
fence, worm and
n : | n : n
d 1 :ri |n' : 1 .t
d' :- It :-
no of
n : | : r
1 :- |se :- ,
no of
n : | : n
snail do
1 :s.f|n :f
n 1 :r' |d'.t:l
snail do
li : t, |d : r
300
ADDITIONAL EXERCISES. PART III.
A. t.ra.l.^ Con espressione.
/ id : P\s\ :-.8i
li.ti: d
r :
n.f
f :n
:
: 1 :
fence. Phi - lo-
mel with
mel -
o -
dy,
de n : :
:
:
: 1
:
: p\ d . ti: d . 1
Sing in
id :- :
:
.
: P\r\
.r : n .d
r : s
- : fe
fence.
Sing in
your sweet
Mi :- :
:
: 1
P: d
t|
1. :-
Sing
in your /
P
cres.
mf
: f.n:f.r
n.fe: s
s :
fe
s :- |f
.n : f .r
f.n:r.d|d : t.
Sing in
your sweet lul -
la -
by, sing in
your sweet lul - la -
t, :d - :t,
d :r
d .t,:
d.l,
t, :d |-
- : t,
d :1, s, :-.f
your sweet
lul - la -
by,
in
your sweet
lul - la, lul - la-
s .f : n r : s
:
n :
r
f .r : n .d|r
: - .s
1.8 :f .n
n : r
lul - la - by, sing,
sing
in
your sweet lul - la-
by, swoet lul - la -
s, : :
d : t|
li :
t I
- : BI
d : f , si : si
sweet
lul - la -
by,
sing
in
your sweet lul - la -
P PP
n
if
d : BI.S, li.li: t|.t.
d : 8,.s,|l|.l|:
t|.t,
d : d
: r .n
r : r
s :-.f
by, lul-la,lul-la,lul-la-
by, lul-la,lul-la,lul-la-
by. Nev - er
harm, nor spoil, nor
Pli ' Pli Hi
f f '
Si.S,
HI : |s
i S i
li '. li
ti : t,
by, P
' 'PP"
1 "* 1
d : :r.r
* : VI
, :
r .r
d : n
:r.d
f : f
r : r
by, lulla -
by,
lulla-
by. Nev - er
harm, nor spell, nor
d| : : s,.s
d[ :
i
8,. 8
d, :- d
: d ! d :d
ti : si
L)
dim. ^
f :n|d :d d :r.n|f
: n
n : r | s : f
n 1 : I r : s
f : n \
charm, Come our love- ly la
- dy
nigh ; So go
ad night, so good
night,
d : |si : 1, s, : t|.d|r
:d
d :_t, |d :d
d : hi : t (
d :
1 : |n :f n : s | s
: s
s : 1 s : s
f :- |s :r
d :
charm, Come our love- ly la
- dy
nigh ; So go
od night, so gooc
night,
1, : |d :d d.n: r.d|t,
:d
s, : |n :_r_
d f i 1 1| * 81
1, :-
PP
D.S.
s . : 1 . s : - .n
f .r:d.t.
d
8,.8|
li.li: t|.t, (
1 '. 81 . 8
li.li; t,.ti
d :-
so good night, with lulla, lulla-
by,
jy, lul-la,lul-la,lul-la-
by-
d . : d . d : - .s,
li ! 81
8|
ivn,
f,.f,: si.s, r
i, : n,.n,lf|.f|: si.s,
HI :
lul - la -
by,
PP
dim.
s . : f . s : - .d d .f : n .r
n
: r .r (
[ :
: r .r
d :
so good night, with lulla, lulla-
by,
lulla- 1
zy, lulla-
by.
n. :f. n :-.d|f, : s t
d
: 8,.s, (
li :
: S|.s,
d, :-
lul - la -
by,
St. Co. (NewJ.
ADDITIONAL EXERCISKS. 1' ART III.
501
O SAVIOUR OF THE WORLD.
KEY A!?. Anduntitw. M. 60. (COPYRIGHT.)
John Qost.
: | n : r : d 1 1, : 1,
s, : |s :
f :n |r :d
O Sa - viour of the
Is, :- f, :, |f, :f,
! | S| : S| '. 8| | S; : 1| .t
world, O
n, : |d :-.t
Sa - viour of the
1. :li Hi :1.
d :s |f :n
d :- |d :-
O Sa - viour of the
world,
Sa - viour of the
: |d, : r, : r, | r, : r,
n, : | n, :
f, :fi If, :f,
t, :- Id :d .d
n : - .d
d : d n : | r : 1, \
world, Who by thy
S| : | n ( : n, .ri|
Cross anc
sei : - .se
. pre - cious Blood . hast re -
se, : se, 1, : 1 1, : 1 (
r : - |d :d .d
d :-.d|d :d d : |f :f
world, Who by thy
s, :- 11, :!,.!,
Cross an(
n, : - .n.
. pre - cious Blood hast re -
n, : rc, f , : ' f , : f , ,
d :- |- :t, d :-
| n ', n .n
1 :- |n :
: | n : n .n\
deem - - ed us,
s, : I f , : n, : -
Save us and
- 1 :
help us,
^^^=- Save us and
d : 1 1, :
n : |r : d : -
- 1 :
Save us and
: |d :d.d
help us,
n : |r :
deem - ed us,
s, : ! s, : d, : -
- 1 :
Save us and
: 11. :li-l
help us,
se, : | se, :
cres. -^
1 : |n : :
Is :-
f :n |r :d
t, : |s :
help us, ere*.
: |1, :!,.! d :-
O
Sa - viour of the
1. : s, | f i : n.
world, O
r, : 1 1| :
Save us and help
: id : d .d n : -
us, O
f : |T :
s : f |n : r
Save us and help
|1, :!,.! s, :-
Save us and help
- |d :-
us.
us,
f, :- !- :-
help
Sa - viour of the
sj : | : S|
ns, O |
St. Co. (New).
ADDITIONAL EXERCISKS. PART III.
s. d.f. Gl?. LwEb.
Et^. t.
mf ere*.
df :n |r :d
t, :-
- |t s e:
1 : 1 1 1
: 1 .1
1 :-.l|l :1
Sa - viour of the
world,
Sa - viour, Who by thy
Cross and pre - cious
"ili : li Hi : li
s, : -
- I't, :-
d :1, (I.
: 1|.1|
d :-.li|l, : 1,
df :s If :n
r : -
|n :-
n : n | n
: n .n
f :-.f|f :f
world, of the
world,
Sa - viour, Who by thy
Cross and pre - cious
i,r :r |f, : f,
8, : -
- |fr :-
d :d |d
:d.d
r : - .r | r : r
Sa - viour
EP. t. m. 1.
/ dim.
P
i d 1 : 1 1 : 1
1 :-
.s | 8 :
f :- |n
: n
1 :- |r :r
Blood hast re -
deem -
ed us,
Save us
and
help us, we
dna: |na : na
r : -
.r|r :
r :- |d
:d
d :- |d :d
'1 :- It :d'
d 1 :-
.t|t :
se : 1 1
: 1
r :- |r :r
Blood hast re -
deem -
ed us,
Save us
and
help us, we
refe: Ife : f e
8 : -
.8)8 :
: 1
f, :- If, :f,
f. At?.
/ s : f .n |n : r .d
AS, :- | :
s : n .d 1 1, : 1, .8,
hum - bly be - seech thee,
Lord, we
hum - bly be - seech thee, O
d : d .d |t, : t, .d
*s, :
f. :-
HI : d .1, |s, : fe,.8.
we
n :1 .8 |f :f .f
"t, : 8, |s, : s, .s.
8| : 8, .n |r : d .t,
hum - bly be - seech thee, O
Lord, we hum - blybe-
seech Thee, be-seech thee, O
si : si .s, | s, : s, .s,
l,ni : - |t. :
d, :d, .d, |n : n .r.
we
hum - bly be - seech thee, O /
P
si :
\ :
'. \
: |n :-
r
d 1 1,
' 1, \
Lord,
Sa -
viour of
the
s, :
1 :
' 1 :
: li =-
f,
: "i 1 ri
: t.
t, :-
1 :
: 1 :
: 1 :
: flf
:
Lord,
P
O
s, :
Is, :-
f i : n, |r, : d,
t. :- Id, :-
r.
5 1
i
\ i Lord,
O
Sa viour of the
world. O
save
St. Co.
(New).
ADDITIONAL EXERCISES. PAKT III.
303
cret.
/
cret - cen-
s^ : ' s :
f :n |r :d
t, : n
'
n : 1, | n : n .ro>
world, O
Sa - viour of the
world, O
Sa - viour, Who by thy
d, : 1 s, :
1, : s, | f , : HI
r, :- It,
:- d :d 1 1, :!,.!
n : r I d : t,
1, :-
- 11 :-
s :f |n
: r
d : |d :d.d
Sa - viour of the
world,
O
Sa - viour of
the
world, Who by thy
HI : | n, :
fi :-
- 1- :-
s, : | se.
:
li :1| Hi :l..li
us and
help
us, O
Sa - viour,
do. al. f f. Dt^
At>. t.
f :-.f|f :f
f d 1 : -
- | r 1 : r 1
n- : ,
: n 1
n 1 : |
Cross and pre - cious
Blood hast re -
deem
ed
us, /')
1, '. .1,| 1, : 1|
r 1 : -
- |1 : 1
1 :- |se
:ba
se : I"!, :
Save
d : - .d | d : d
r 1 : -
- |1 : 1
d 1 :- |t
: 1
t : | :
Cross and pre - cious
Blood hast re -
deem
ed
us,
f, :-.f,|fi :fi
ta,f : -
If :f
n : |
: n
n : | :
P m^^ 3 *" 3^m^=
*/
d'f ; | n ; r
d : -
It, :1,
li :si.si|t,
: 1|.S|
s, : is :
Save us and
- :- Hi :1,
help
si : -
us, we
1 f 1 f I
hum-bly beseech thee, O
f, :f,.f,|f, :f,.f,
Lord, O
n, : | n, :
us and
help
us,
ir :- Is :f
n : -
- |r :d
t| : t|.t,| t.
: t|.t.
d :- |d :
Save us and
help
us, we
hum-bly beseech thee, O
Lord, O
i,r, : |n, : f ,
s, :-
I s, : s.
s, : S|.s,l s.
: si.s,
d, : |ta, :
PP >
Rather slower. f)
'f :n |r :d
t| : lai : ladai
la, : s, | : si
Sa - vioui of the
world, Save us, and
help us, we
fi :- 1- :-
f i : la,
:la,.la.
la, : s, | : s.
save
us,
d :- I- :-
r : la, : la,. la.
lai : s, | : si
save
us, Save us, and
help us, we
1, :- Ha, :-
si : la.
: la, . la.
la, : s, | : s,
cret.
/
dim. K\
n :r.r|f : t,.t,
d :-
- | :
- :- |d
:
d :- |- :-
hum-bly beseech thee,
Lord,
A
-
men.
f, / t \ t . f f
i :i,.i||f, :i|.l
n, ; -
-Hi :-
s. :- If,
:
n, :, :
A
men,
t, :t,.t||t. : r .r
d :-
- |f :-
n : 1 1,
:
s, :- !- :-
hum-bly beseecu thee,
Lord,
A
-
men.
i S| : s ,S| S] : s,.Si
d, :-
- I- :-
- :- If.
:
d, :-|-:-
St Co (New).
304
ADDITIONAL EXERCISES. PART HI.
THE SHEPHERD'S LAMENT.
. Andante lento. M. 63.
Henry Smart.
p
in .,"i
s : -
.f :r .1 ""T""
: s :s jl 1 n 1
:- .d' :t .1
On the
* d .d
: s .,s
brow
d :-
s : -
of yon-der moun -
.ti :t, .r r
.8 :s .t t
tain A tho
: n : s n
id 1 : d 1 .s s
u - sand times I
', PI I PI .PI
:d' .n 1 :r .d !
On the
i d .,d
brow
n : -
: .1
of yon-der moun -
.r :f .f f
1 :- .f :n .s
tain A tho
: n : n d
f :r :d .ti
u - sand times I
:1> -1 .li
d .n : s .,8 : s .f .
stand,
r c -
And
: .f
on my crook re-
f : - .r : de.de
pos - ing, Gaze
r : 1, : S|
down on tho ver-dant
8| '. S| .,d : d .d i
t il
stand,
r i -
: .1
And
1 :- .1 :s .ta
on my crook re-
r : - .r : r .r
1 :f :r
pos - ing, Gaze
r : f , : f i
d : d .,n : n .f
down on the ver-dant
it) ', DI .,ri| '. I, . 1|
n : r
: .s
d : - ,ti ,d : n .,r
d : : t| .t|
li : - .d :t, ,d 4 r
land.
d :t
The
, : .r
flocks as they graze I
8| . ~" (S| |S| S| *,S|
fol - - low, My
dog he guardeth them
s : -
land.
8, t-
d :-
well,
n : -
well;
li :-
well;
: .t
The
I d S .,8
From the
: "> t .,t
From the
From the
t n : - ,re,n : s .,f
nocks as they graze I
? :t .t :d' .1
moun - tain have I do-
f :f .f :n .n
t : r' .r 1 : s .d'
moun tain have I de-
Si : 8| .8| : 8| .8,
moun - tain have I de-
n : : r .r
fol - - low, My
The flocks as they graze,
dim. f)
s : f : n .
scend - ed, Yet
r :r :d .
t : : d 1 .d
scend - ed, Yet
8| : S| J L .
scend - ed, Yet
ritard.
d : - .n :n ,n ,n
dog he guardeth them
.HI 1 DI tPi| :n| ,ri| ,ni
My dog he guardeth them
r . : : n . \
how, yet
li. : :ta,. /
i :d d :i .i
how, I can scarcely)
f , . : : s, . "
how, yet
^
~-
^ P
If . :
:fe
s : d 1 .t : 1 .s'
fe.s : f . : r
d : n
how,
d . :
yet
d
how I can
d : n : d .d
scarcely, scarce - ly
d .d :d . :t t
tell. ITie
d : d
d :i
: na
n : s : n .n
re.n : 1 . : s
8 : s
tell,
how,
St. Co.
yet
(New).
how I can
si : : 8| .s.
scarcely, scarce - ly
tf
si .s, : si . :> g(
tell. The
d !- ! | d
ADDITIONAL EXERCISES. PART III. 305
n : s .,s : f ,r 4 1
1 : s : s .,d'
n' :-,r',d':
d 1 ,' ,1
s :f : .f
mea-dows are sweetly en-
am - ell'd With
flow - ers so lovely and
gay, I
d : d .,d : t|,t|,r
r : n : s
n i n M n :
n ,n ,n
r : : .r
8. o e e o t
i S .,S . S ,8 ( t
t : d' : d 1 .,s
s : -,se,l :
n'.r'.d
t :1 : .1
mea-dows are sweetly en-
am - ell'd With
flow - ers so lovely and
gay. i
, d : n ,,n : r ,f t f
f : n : n d : d M d :
l.,lil.
r : : .r
t f ^ i
- ,n ,i : i t s ,n
r :
It :ti
d .n : s .s :
s,f ,d
n : r : .s
ga - ther them but withou
; know -
ing To
whoml shall give thema-
way. In
r : -^e.ride^de.df
' ll
ll : S|
s, : S| .d :
d,d,d
d :t, : .r
1 : - ,1 ,1 JPI ,n 4 s
f
r : r
d : d .n :
n,f,f
s : : .t
ga - therthembut withou
, know -
v
ing To
f i f
whom I shall give them a -
m m. m 1
way. In
B7. t.
1 1 . 1 1 rii iij . ri| .
s d : - .d :r t d ,ti
d : - : t, .,t,
li : 1| .,1| : t| ,d ,t| .
rain.in rain, in storm, and in
tern ... pest, I
stand there be - neath the
r s ( .8) : si .si :lai,lai,lai
S| \ S6| .,SG|
1| t H| .,1| : S6| .,S6|
tn :- .n :f ,f ,f
n : : r .,r
d : d ,r ,n : pj ,,n
rain, in storm, and in
tern ... pest, I
stand there be - neath the
; ;
. t|Pi| : pi| .Pi| '. ri| ( ni ,ri|
HI iba^seit 1| t t| ( d : r ,n ,r
In rain, in storm, & in
tempest,! stand there beneath the/
;^> P f. Ef.
/ L : : L . 1|
l,n ,,r :
r :d .1
s :f :
n .
r . : : n . \
tree ; But yon
door re-mains clos'd a-
gainst me.
And
all, And
1, : n, : n,
",t|.,ti:
t, :d .d
t, :t, :
d .
li . : : si .
n : d : d
ds.,f :
f : n .n
r : :
d .d
d :d .d :d .,d
tree ; But yon
door re-mains clos'd a-
gainst me, And
all is a dream to
d : : d, .d t
tree ; But yon
d i8|.,s,: si : si .s,
door re-mains clos'd a-
si : se, :
gainst me,
And
f i . : : ta(.
ail, And /
ritard.
f . : : f e
s .1 :
t .r 1 : d 1 .n
s :- .f :
r .n
d :- :- ,
all, and
all is a dream to
me, a dream to
me.
d . : : d .d
d :
:
.d : t. . :
t;
d : .si :1, .1,
all, is a
dream,
a dream
to
me, a dream to
< d : r : na.na
n :
:
.s : s . :
s
s : .n :f .f
me, is a
dream,
a dream
to
me, a dream to
1, . : : la,.la,
s, :
:
S.PI I r . \
.81 : s* . :
f
l
3! : . :f, .f
all is a
dream,
St. Co. (New).
306
ADDITIONAL EXERCISES. PART III.
Q. t.m.l.r.
: PI
n : n .,n : n d ,d ,r
n : n : - n
"Tib
true there ap -pear-cth a
rain - bow, Ami
8, :- d
r : d .,d : t |S|( d ,t.
d :d :- .d
me.
PI : 8
se : 1 .,1 : t s ,s ,f
n : d : n
me. 'Tis
true there ap -pear-eth a
rain - bow, And
d :- d
t, : 1, !, :,n u nuri
d| .HI : S|
/ r.s.d.f. E>. L is C. ^ QjO
n : n vi : f jn ,r
t :- : :r
o - ver yon cottage it
stands : fJf)
lint
d id M d : t| ,t| ,t|
dpi : - : .t|
ti .,t| : t| : r ,r
But
she, a - las! is de-
8 : 8 .,8 : r ,8 ,f
m se : - : .se
86 .,86 : 86 : t .t
o - TOT yon cottage it
stands:
d : d .',d : d ,d ,d
dpi :- . :
: :
-~ ~r JHjH
f .,f : f :f .f
f :s :1
T :s :f
n : - .n : f .r
she a - las! is de-
r : r .r :r .r
part - ed, de -
r :n :f
r- od To
: n : r
some far land, and
d : - .d : ti .t|
part - ed to distant,
far dis - tant
lands, To
some far land, and
t : t .t :t .t
t : :
t : d> : 8
8 .,8:8 .8 : S .8
f>f>
far
dis - tant
land, To some far land, and
s, : :
- : 1, : t,
d :- .d :r .f
She is de-
part ...
ed to
some far land, and
,=> "=
far beyond the
PI : .PI : PI .n
s :f
Pass
f
1 : - .f : n .r
on, ye sheep, pass
f - r :1.1,
d : t|. : d . \
on - wards! The
8< : 81. : .d
far - ther, E'en
r : n : s
sea.
r *
t :d< rd'.s
s rd'.n'ir'.d 1
far beyond the
d ;l,.l,;li.l,
t :1 : .1
sea. Pass
r ~~ . r
1 :-.! :.f
on, ye sheep, pass
n : r . : s .
on - wards! Th
far - ther, E'en
f : r, : n
d . :d . :d .
ertt.
d . : :d .
8 : 8 .8 : 86 86
1 .t : r 1 .d 1 : 1 . v
shop - herd,
r : r .r : n .n
sad, The
f . : :na.
shep - herd, sad is
r : : r
he, The shep - herd, O
d . : : r .
shep - herd, O sad is
1 . : 1 . : s .
shep - herd, the
f, . :f, . :ta,.
he, O
f :f .f :fe.fe
shop - herd, O sad is
1, : : .1,
sad is
8 : t : t
he, O
1 . : :1 .
he, O
f . : : f , .
he,
t, : -
is
: n
shep - herd, O
St. Co. (New)
sad,
sad is | he, O
ADDITIONAL EXEKCISES. PAKT III.
307
n : s :
: - .r : n .
O sad
n : r ,t| : t, .
r d :- :- :
is he, ftf)
t| d : - . : la ( .lai S| :
sad,
d : .d :f .n
s : .s :cV .d
sad, sad is
, $.n :1 .8
81 ' f.s, :s, .8,
Words by
Edmeston.
KEY D. Adagio soft
Two Measure*
Symphony.*
f : m |n , :
t : - .s : s .s s : - . : f .f n :
he, sad is he, sad is he.
s : - .f : s .f n : - . : d .d d : )
S| :- .81 :BI .Si d :- . : f i .f t d, : \
SAVIOUR, BREATHE. Music by
"AvB VEBUM." Moztn-t.
t voee. M. 72. -<d!H
s : | d 1 : n s : f e | f : f : 1 | s : f ,
l.Sa - viour,
n : |n :
s :- |s :-
2.Though the
d :- Id :-
r :- |- :r
Ere re -
ti : - I : t,
s :- |- :s
Dark - ness
s, : | :s.
Sin and
*s, : 1 : s,
tn : | : n
Thou art
d : |- :d
iW,
f :- |- :-
I.Thou
2.Watch
: 1 1, : t,
I.Thou canst
: |f :f
2.Watchest
: | r, : r,
breathe an
r :- |r :-
1 :- |1 :
night be
d : |d :
n : n |f : f
pose our spi - rits,
d :d |r :r
s : s | s : s
can - not hide from,
d __^d__ Iti :t|
d "TtT 1 1. : -
eve - ning
r : f |n : r /
s :- |s :- (
dark and
t, :-_h,__ :- /
f : |n : n
bless - ing,
r :d |d :-
spi - - rits
r : |d :d f
s :- |8 :-
drea - ry,
d :- |d :-
seal;
t, :-|-:-
s :- |- :-
thee;
s, :|:
f nr id :-
s : | : s
hide from
d :- |- :d /
s, : ti | :r
want we
s, : | s, :
n :f |f : -
come con -
si : | : t,
r :- |- :f i'
ne ver
t| : i s, :
d :- |t ( : ti
he who,
d :r |r :-
: n |r : d
canst save, and
est where thy
d :- Hi :-
save and
s :- |f :n
fess - ing ;
t, :d |d :-
thou canst
peo - - pie
s, : | :s,
thou canst
r : | : r
peo - - pie
si : | : si
f : n |n :
wea - ry,
86 ( : 1, I li :
where thy
n, :- If, :-
St. Co. (New). * These measures to be disregarded when the music is unaccompanied.
308
ADDITIONAL EXERCISES. PAKT III.
i
d :- I- :-
heal. Three Mea*nrea
s, :- I- :-
n : i :
bo. Interlude.*
\ d, :-!-:-
3
d :- |-
Though
si :- |
n :- I-
Should
)
r ^~ \ ~~
Though
ba :- |-
And
d :- 1-
:
- :f
sur -
~~ r
a >
If :t
r. s. d. f. F. L is JD.*=^Z
:d d n : f |f : _
de - struc - tion
: S| 8 ,t| '. 1 1| :
: n "se : 1 se : s
swift death this
: d d n : r |r : /
: r r : f | n : r \
f :1 Is :f f^:n |n :
walk a - round us,
t| : | ! t| t| : d id :
the ar - rows
: li t| :d |t, :
8 :f )n :r r :n |n :
: ba se : 1 | t : se
night o'er take
8, : | : 81 si : d
J1S,
Id :-
D. t. m. 1.
t,r :
fly.
"it, :-
t,r :-
tomb,
f :-
thee
r :
heaven
1 : s
our couch be
d t| : 1, | sei : n.
/ r : |d .I, : d
n : | : n \
An ... n. j
d :- |- :d
: 1 :
Slav the
: 1 :
f :n |r :s
past us
t ( : | It .se,: li
se : - |1 : f e
come our
f i : |n- : re.
1 n :r id : f
guards from
d : t, 1 1, : r
round us ; For
r : d |t, : n
morn in
1 :- I- :1
l.An --. gel
f :- I- :f
2.May the
/ s : | :
we
clad eree.
t :1 Is :d'
round us ; We are
8 :f |n :1
\ wake us, Clad in
St. Co. (New).
wake us, All
t :- j- :t
thee sur -
s : | : s
heaven a - /
n : |r : - .n >
guards
f :n
morn
- :f
are
:f
in
safe
1 :
from
r : s
in
8 : 1
safe if
n : r
bright and
if
s :fe
thou art
d :- |t, :- .t,
death ... less
s : | : s
thou art
death - lew /
bright and
* See note on previous page.
ADDITIONAL EXERCISES. PART III.
309
f. GK
f :- I'd :
nigh, l.For
2.A11
s : _ 7- :-
f CO
. \ DC .
D. t. /
ir' :1 |t :d'
we
clad
-
-
d :- I :
bloom,
f :- 1
nigh,
1, :- I :
\ bloom,
l.For
: | taf :
2. All
d : | ti :
1 : d' |t : 1
we
s :- |f :-
clad
na : | r :
defer- 1-":-
tr
I t : 1 .s |d' :f
are safe if
in bright and
:d.t,|d :d
n : |r : - .r
d :-|-:-
nigh,
bloom.
d :- |- :-
nigh,
n : 1 :
bloom.
d :- |- :-
Three Measures
Symphony.
thou art
death - - less
are safe if
s : s |s : f
thou art
s :- |f :-.
in bright and
f :f |n :1,
death - - less
s, : j :s.
LOUD THE STORM- WIND DOTH HOWL.* Music by
Words for this work by /. S. C. Kreutzer.
KEY E7. L is C. Alle
'P cres.
n : .n | n ' n .n
jro molto.
i :i.iil rr.i
d 1 :- It :1
se : t | :
Loud the storm wind doth
d :-.d|d :d.d
howl,&the waves threaten
d :d.d|d : d .d
death in their
d : |r : n
fu - ry;
r : r | :
n : .n 1 n : n .n
n : n n|ri : n .n
n : |n : n
f : | :
Loud the storm wind doth
1, :-.li|l, rli.l
P
/ se :- .se|se
howl,& the waves threaten
death in their
fu - ryj
t, :se, ' :
cres. _i'.-_.
: se.se t : t .t
t : t .t r 1 :
Loud the storm wind doth howl, and the
r : - .r |r : r .r r : r .r
waves threaten death in their
r : r .r t| : |d : r
n : - .PI | n : n .n n : n .n
n :n.nn : |n .*n
Loud the storm wind doth howl, and the waves threaten death in their
ti :- >t| 1 1| :t|.t| sei :sei.sei|s6| : sei-se, set .' ' 1| : t;
St. Co. (New).
* For T.T.B.B. by inverting the inner parts.
ADDITIONAL EXKRCISK8. PART III.
ff f. A>. Zifl*
| 1 :d 1 :
del se : - .se se : se.se
1
' : 1 .1 \
fa - ry;
Loud the storm wind doth
howl.
And the
n : n :
r : - .r r : r .r
d
1 :d .d
n : 1 | :
1 n : : n
n
n ,n , n : n .n
fu - ry ;
Loud the
storm wind doth howl, And the
d : 1, 1 :
"t, : - .ti t| : ti .t.
ll
:- 1 :!,.!,
Loud the storm wind doth
howl,
PP E 7. t. L is 0. ere*.
t : t .t |t : r .r
d : 1 :
fet
:- .t |t : t .t '
waves threaten death in their
fu - ry;
Loud
the storm wind doth
r : r .r |r ' : t ( .t (
1, :d :
df
:- .f |f :f .f
n i n .n | n : n .n
n : n :
ml
:- .1 |1 :1 .1
waves threaten death in their
f u - ry ;
Loud
the storm wind doth
* sci :se,.sei|sei : se,.se 1, : 1| :
: ,r
: - .r |r : r .r
t r^ r- n^~
f
t : - .t t : t .t
.-
t
: - ~~~I : t .t
howl,
Loud the storm wind doth
howl,
And the
f :- |- :-
fe : - .fe fe : fe.fe
fe
:- !- : fe.fe
1 : ! :
1 :- .1 1 :1 .1
1
:- i- :1 .1
howl,
Loud the storm wind doth
howl,
And the
r : | :
re :- ,re|re rre.re
re
: | :re.re
/ * ff
^ === ^
d 1 rde'.de'lr' : ro'.re 1
n 1 : .
:- |7T :-
WRVCB throfltop doftth in their
rv
n : 1 .1 |1 :1 .1
1 : se : ba
se
:-" |n' :-
1 :1 .1 11 :1 .1
d' :- |t :1
t
: |n :
waves threaten death in their
fu
.
ry.
B : s .s Ife : f .f
n : - 1 - : -
:- |n, :-
P 0. t. m. L . ...
. ...
de'ir: | :r d 1 :r'.t|d' n' : i : r
d 1 :r'.t|d> :
But the tern- pest is past, But the
tern - pest is past.
" s : | : 8 8 : s . s | s : s : i : 8
8 : s .s | s :
i d 1 : | : t di : t s | s : d 1 : 1 - : t
d 1 :t.s|s :
But the tern- pest is past, But the
tern - pest is past.
l,d : | :f n :f.r|n : d : | :f
n : f .r |n : ,
St. Co. (New).
ADDITIONAL EXKRCI8ES. PART III.
311
SOLI, dolce.
: 1 :
f :- I* 1 :/'
' : *' | ' : /i : 1 ' : f \
P
Soft comes the
sun - shine, still - ing- the
8 : | * : *
8 : | 8 I
* : |* : s 8 : | : *
Soft comes the
sun - shine,
peace - ful - ly still - ing the
rf 1 : | r 1 : d 1
d 1 : 1 1 :
oJ 1 : \r [ : rf 1 rf 1 : 1 1 : t
Soft comos the
sun - shine,
peace - ful - ly still - ing the
m :- |/ :
r '. | s\ :
d : n \f : n r : | s\ : |
\
HZ~ -= CHORUS, fif) eret.
r 1 : I
:
'
:
n 1 : - .n 1 |n' : n 1 .n'
storm. -
.
.
Loud the storm wind doth
:- i-
:
:
:
se : - .se | se : se.se
t :-. 1-
:
d } : :
t :- .t |t : t .t
storm. ...
.
~T
Loud the storm wind doth
i :- 1-
:
d : :
n : - .n |r : r .r
n 1 : n 1 .n 1 | n 1
: n 1 .r. 1 '
n 1
n 1 : - .n 1
n 1 :ii I :
howl, and the waves
threaten
death in their
fu - ry.
1 :1 .1 |1
:1 .1
se :
1 :- .1
1 : se | :
d 1 :d' .d 1 |d'
: d 1 .d 1
r' :- Id 1 :- .d 1
d 1 :t | :
howl, and the waves
threaten
death in their
fu - ry,
d :d .d |d
: d .d t| :
1, :-.d
n : n ' :
P
n 1 : - .n 1 |n'
cret.
: n 1 .n 1
" ^^SSS^.
f :- |pi :-.r'
re 1 : re 1 . re re 1 : re'. re 1
Loud the storm wind doth
howl, and the waves threaten
death in their
n : - .n | n
: n .n
fe : fe .fe fe : fe .fe
se : | se : - .se
se :- .se|se
: se.se
1 :1 .1
1 :1 .1
t : |t :- .t
Loud the storm wind doth
howl, and the waves threaten
death in their
n : - .n |n
: n .n
n i n .n
n : n .n
n : |n : - .n
pt. F. L\sD. . . f>
r 1 : d 1 | :
I'd' : | : t
1 :t .se|l : d 1 :. | :t
fu - ry,
But the
tern- pest is past ! But the
se : 1 | :
J . __ 1 .
n :n .n |n : n : | : f
t : 1 | :
r'l ; | ; se
1 :se.n |n : 1 : | : se
fu - ry,
But the
torn- pest is past ! But the
n : 1 | :
*li : | : r
d :r .t,|d : 1, : | :r
St. Co. (New).
312
f
/I :t .se|l :
tern- pest is past !
PI :n jn \ PI '.
1 :se.n |n :
tern- pest is past !
d :r .t, |d :
r' :- |' .
ADI
)C. t.
Soft
Soft
f 1 :i
tern - p
t : t
r 1 :i
1 in - p
s : f
r 1 :-
3ITIONAX EXER(
SOLI, dolce.
- I* 1 :/'
comes the
- | s : s
- \t : t
comes the
| 8\ '. S{
fjDCHOKUB.
fe 1 :-
But
1 :
d 1 :-
But
r :
'.f'lf :-
fist is past !
, .t|t :
eat is past !
1 .8 |8 :
JISES. PART III.
sun - shine,
* : | s :
still - ing the
* : 1 8 : s
t :- \t :t
still - ing the
r : | *j : s,
fe'.fe'lfe' :
pest is past !
1 .1 11 :
d' .d 1 |d' :
pest is past !
r .r |r : /
sun shine,
d : |/ :*
- :s' fe 1 :
the tern -
I- : 1 1 :
- : d 1 d 1 :
the tern -
: na r :
SOLI, dolce. . .
storm.
8 ~~ | """"
t : |rf'
storm.
*i : \d !
/P
f :- |- :f
But the
t : | : d 1
But the
{ 8 : 1 :la
H :? - :/'.r'
Soft comes the
* : | * : *
sun - shine,
: I :
n '. d* \d* '.
Soft comes the
d : \d :d
' : *' ' ' : <J'
sun - shine,
d : \d :-
CHOHUB.
'l ?'.
stiU - ing the
I :t \ is
' t :r 1- :<
still - ing the
/ r 1 :? |- rf'.r
sun - shim: is
s : t | :s
t :r' |- :t
sun - shine is
s, : s, | : s,
St. Co. (NevJ.
storm,
s : -
t :-
- 1- :
Soft comes the
: | s : s
d\ :' |n> :n
sun - shine, Tho
s : | : s
storm,
- \d :
Soft comes the
r 1 ;i' |- ;f'.r
sun - shine is
8 : t | : t
t :r | :.r'.f
sun - shine ia
s : BI i : s
sun - shine, The
d : \d :d
here.
8 :- |- :-
here.
d :- | :
PI : 1 '. PI
here, The
fli . _ _ : fll
here, The
d : s ' : n .d
HINTS ON THE TUNES IN
ADDITIONAL EXERCISES.
WITH REFERENCES TO INSTRUCTIONS IN "STANDARD COURSE."
GOD SPEED THE RIGHT, page 1, is
treated of in " Standard Course" under
the following topics : Normal force,
page 98 ; Breathing-places, page 98 ;
Treatment of unison, page 103 ; Ap-
propriate force and speed, page 132 ;
Melodic phrasing and subordination of
parts, Ex. 212 ; Degree of force in a
cadence, page 103. See analysis of sec-
tional relation in ' How to Observe
Harmony," page 63.
GOING HOMK, page 2. Delivery of
repeated tones, page 99 ; Marked en-
trance of parts, page 100 ; Melodic Im-
itation, page 99. In scores 2 and 3
develope 8. and C., running in thirds
and sixths.
JACKSON'S EVENING HTMN, page 2.
Pervading force, page 98; Treatment
of melodies, page 100 ; Study of con-
genial tones, page 102 ; Crescendo on
single tones, page 103; Expression of
joyful feeling, page 131 ; Contrition
and supplication, page 132 ; Growing
excitement, page 133. See analysis of
sectional relation in " How to Observe
Harmony," Study carefully the melo-
dic phrasing of each part, pp. 69, 70.
In harmony let S. and B. deliver well
their tertiary dissonance in score 1,
measure 3. They have the same in
score 4, measure 4, where the Tenors
also have to strike a primary disso-
nance against the C., and secondary as
against the B. This double dissonance
should be carefully done. There is a
strong primary dissonance between 8.
and C., at score 3, measure 5, and an-
other in the next measure. See " Stan-
dard Course," page 21, and " How to
Observe Harmony," page 90.
SPUING Li KB, page 3. Vigorous en-
try and unanimity, page 100; Outbursts
of enthusiasm page 131 ; Didactic style
mingled with emotion, page 132. Aim
at perfect unity and blending of S. and
C. in score 1 and 2.
THE FORTUNE HUNTER, page 4. As-
cending melodic imitations, page 99 ;
Sympathetic singing in unison, page
103 ; Slyness and gaiety, page 133 ;
Imitative sounds laughter, page 101 ;
Sad reflection, page 132. See analysis
of sectional relation in " How to Ob-
serve Harmony," page 63. The chang-
ing expression suitable to every verse
should be carefully attended to. In
the last line deliver the word ''not"
staccato, and make a slight pause after
it. Carefully attend to variations of
both time and tune in verses 2, 4, 5, 6.
THE MAY-TIME, page 5. Firm entry
of parts, page 100 ; Ascending and de-
scending phrases, Ex. 211. Should not
exceed the rate of time marked. Clear-
ness must not be sacrificed to rapidity.
Sweet concord in the two-part passages
is the essential feature.
THOU SIIAI.T snow ME, page 7. -
This should frequently be used as a
test of steadiness in time and for the
practice of syncopation and marked en-
try of parts. Let. S., T., and B., hold
firmly d against r in score 3, measure 4.
THE WAITS, page 8. Example of
soft singing, page 98 ; Increasing force
in rising phrases, page 8 ; Representa-
tion of distance, pajre 101 ; The promin-
ent and the subdued tones of a melody,
Ex. 223. The highest part will prove
very fatiguing if not sung in the upper
thin register wiihnut straining. None
but undoubted first sopranos should
take this part. The piano singing of
this piece will discover the presence of
low and hard voices among the so-
pranos.
THE CUCKOO, page 9. Imitative
sounds, page 98; Cumulative force on
repeated tones, page 99; Unanimous
delivery of the bass voices is required
in scores 1 and 4 ; Unity and good
blending in S. and C., page 10, scores
1 and 2. The close dim. pp will require
tenors to use their thin register gently.
The word '"cuckoo" should have its
first syllable pronounced exactly like
its last, and thus aid the imitation of
the bird's cry.-
BON ACCORD, page 11. Entry of
parts, page 100. This piece should be
sung firmly, at a brisk rate and with
fine rouud tone. It is one of the pieces
which should be sung from memory in
all its parts.
HOPE WILL BANISH SORROW, page 12.
General character of a piece, and ap-
propriate force, page 98 ; Rising excite-
ment, page 131 ; Depressing thoughts,
page 132. The rhythm should be well
practised. It is nearly the same in all
the parts. Emotion ebbs and flows very
much in this piece, and its phrasing is
an interesting study. Transition analy-
sis, score 2, measure 1, " How to Observe
Harmony," page 57.
How BEAUTIFUL THE SUNSHINE, page
12. See analysis of sectional relation
in "How to Observe Harmony," p.igt-
63 ; Study the rhythm, which is varied
and somewhat intricate ; Three related
phrases in scores 2 and 3, require in-
creasing force ; Transition analysis,
score 1, measure 4, " How to Observe
Harmony," page 57.
COME, FREEDOM'S SONS, p. 13. Loud
and bold delivery, page 98 ; Discourag-
ing reflection, page 132; Poetic phrasing
and expression, page 136.
THE QUAIL CALL, page 14. Normal
force, page 98 ; Imitative phrases in a
melody, page 100; Dramatic expression
of words, page 131 ; Effect of different
expression in contrary motion, page 99 ;
Excited exclamation, Ex. 257 ; Verbal
expression, page 132 ; Proper rendering
of cadences, page 103. The rhythm i;-
uot likely to be made perfect unless each
pulse is distinctly beaten in learning
the piece. Transition analysis, score '2.
measure 3, "How to Observe Har-
mony," page 57.
THE TIME FOR JOY, page 15. Ap-
propriate force and speed, page 98 ;
Notice alternate periods of p and /,
and this order reversed at page 16,
score 3 ; Develope tenor in lost score,
page 15, and score 2, page 16. The
second 8. must not cover up and ob-
scure the first 8. in those places where
the second is the higher of the two, for
even there the notes in the top line
form the principal melody.
HEAR HE WHEN I CALL, page 17.
Subdued and prayerful effect, page 98 ;
Exultation, page 131 ; Vowel sounds,
page 138; Melodic and harmonic imi-
tation, page 100; Marked entry of
bass, page 100; Various contrasts of
expression, page 132; Pressure tone,
page 133 ; Bold delivery of fugal pas-
sage page 19 ; Triumphant affirmation.
514
jINT8 ON THE TUNKS.
page 98. Transition analysis, " Addi-
tional Exercises," page 19, score 3, mea-
sure 1, "How to Observe Harmony,"
page S3. Let the bass, score 4, measure
4, hold its d well against the t and r of
C and 8.
WE FLY SY NIOHT, page 20. Force-
ful delivery, Ex. 217 ; Accelleration
of speed and force, page 131. Mark
breathing places in the long run for 3.,
scores 3 and 4, or still better, practise it
till it can be sung easily to one breath.
Marked entry is very important, espe-
cially in C. and T. For public perform-
ance this chorus may be preceded by
the bass song in the Macbeth music,
Heportf.n 520 and 621. Transition an-
alysis, score 1, measure 3, " How to Ob-
serve Harmony," page 57.
MY LADY 18 AS FAIR AS FINK, page
21. Subdued general effect, page 98;
Pronunciation, page 140 ; Develope the
tenor in the 3ra score ; Mark well the
most effective part of the piece, which is
at the beginning of 3rd score. Transi-
tion analysis, score 1, measure 4, " How
to Observe Harmony," p. 67.
NIOHT AROUND, page 22. How to pro-
duce humming accompaniment, page
100; Dramatic effect, page 132. Obe-
dience to the baton is imperative here.
The conductor has to keep the chorus
in time with the soloist. Transition
analysis, score 2, measure 1, "How to
Observe Harmony," page 57.
Cent, LP.T DS ALL A MAYING oo,
page 24. Expression of light-hearted
gaiety, page 133 ; Imitation of the
cuckoo and of bells, page 101. The
piece must go freely and nimbly,
the quicker notes being struck neatly
and somewhat .-,-,//,,. especially in the
downward runs imitating the sound of
bells. Notice contrasted effect of / re-
presenting drums and a representing
fifes. Transition analysis, score 2,
measure 1, " How to Observe Har-
mony," page 58.
HALLELUJAH, AMEN, page 26. Swell
on prolonged tones, page 100. The
rhythm of the principal subject must
be perfect. Strongly marked accent is
required at page 27, scores 1 to 3, be-
ginning " O Judah." Tenors must use
thin register in the hurher passages,
und this part must be well developed in
measures 6 to 8, where it assumes the
importance of an ascending bass. In
the same way the bass part must be
] Tough t out when it imitates the same
kind of ascent a fourth lower. The long
silences are somewhat trying. The two
" Amens,-' must be very bold.
SWIFTLY FROM THE MOUNTAIN'S BROW,
page 29. Expression changing in a new
movement, page 98 ; Sunbeams and sha-
dows, page 133 ; Warbling birds, Ex.
117 ; Prolonged tones, page 100 ; Nor-
mal force, page 93 ; Repose in nature,
page 132 ; Expression rapidly changing,
pp. 98, 99; Pronunciation, page 140.
The two first movements of this alee
represent the landscape, and the last
one the music of nature at early morn.
It abounds in melodial passages and
fine effects. Transition analysis, " Ad-
ditional Exercises," page 32, score 4,
measure 2, " How to Observe Har-
mony," page 67.
LORD, IN THIS THY MERCY'S DAY, p.
33. See " Standard Course," for proper
expression of deepening emotion in y.
2, and increasing urgent supplication in
v. 3, p. 132. Study of Verbal Expres-
sion, Ex. 260. Vowel <ii low in pitch,
p. 139. Preserve the subdued effect
throughout, but study well the rise
and fall of its three phrases. Tenors
must use the thin register in the second
phrase.
RlSB, MY SOUL, ADORE THY MAKER,
p. 33. Tones to be developed as heigh-
tening the general effect, p. 102. De-
livery of Cadences, p. 103. Give due
effect to Harmonic Sequence, m. 7.
The Verbal Expression requires great
variety of speed and force. The chord
w il, sc. 1, " How to Observe," pp. 76,
77.
FATHER, MY SPIRIT OWNS, p. 34.
Musical Expression, Ex. 216. Study
of congenial tones, Ex. 224. Verbal
Expression Resignation, Ex. 260.
The vowel a, p. 140. Deep feeling ex-
pressed by pressure tones, p. 133.
Study the peculiarities of the rhythm
in sc. 1, and mark well the change of
rhythm in sc. 2. Chord .s'A'. sc. 3. See
" How to Observe," p. 78. Chord TAft,
sc. 3, " How to Observe," p. 114. The
bass part contains some difficulties.
Practice the first line well, especially
the octaves 1, 1, and r se . The 8 in
sc. 2, m. 1 , 2, 3, must be drilled also.
NEARER MY GOD, p. 34. Tones to
be emphasised, Ex. 225. Pure vowel
sounds, p. 140. Melodic Imitations, p.
100. Get a pure quality of tone in the
low passages for bass, sc. 1 and 4.
Contraltos have to hold d against r
in chord 7R6, sc. 1. 8e "How to Ob-
serve," p. 26. T also has a Secondary
Dissonance, p. 35, sc. 2, m. 2, in the
same chord, *R6.
THE GIPSY'S TENT, p. 35. Appro-
priate speed and force, p. 133. The
proper singing of subordinate " parts,"
p. 100. When the 8 takes up the mel-
ody previously sung by the soloist, it
should be done with great spirit, and
be in strong contrast with the soft ac-
companiment which they were pre-
viously doing. A primary dissonance
for the solo part (if soprano), occurs in
chord D6, m. 1. Also a tertiary disso-
nance in the same chord at p. 36, sc. 3,
m. 3. See " How to Observe," p. 9>
and pp. 4. 5. Also a secondary disso-
nance in the chord Dc. See " How t:
Observe." p. 100 Also a secondary
and tertiary dissonance in the chord
9F, p. 38, sc. 3.
HARVEST HOME, p. 39. Character-
istics of the " Part- Song," p. 146.
Form of tones, p. 133. Sharp delivery
of detached sounds, p 103. Ascending
and descending melody, and subordin-
ate parts, p 101. Study of unison, uni-
form and equal emphasis, prolonged
tones, " Vamping," Ex. 213, and p.
103. See that the correct tones are
sung by T. and B. in this vamping
accompaniment. The vowel oa, p. 188.
Delivery of cadences, p. 103. The fine
melody for 8, p. 40, sc. '2, should be well
studied, and sung with perfect clear-
ness. A pure, bright tone must be go*.
at the f (g 1 ), last sc., which must not
be attempted by any but.V.v< sopranos.
Notice 4>!>D. p. 39, sc. 3., m. 4. See
" How to Observe," p. 98. Tenors
should use thin register in the three
last tones.
AWAY TO THE FOREST, p. 42. Stac-
cato passages, p. 103 The lively,
dancing effect of the rhythm, with al-
terations of sfortando and staccato, re-
quires much practice. The piece is full
of expression. Notice the echo effect
in sc. 4, " Tra la," first/ and then pp.
Tenors must use thin register on 3
at the close of the " Tra la."
SUNSHINE AFTKR RAIN, p. 44. Musi-
cal Form, p. 146. Emotion quickly
changing, p. 132. Vowel ai, p. 139.
Sc. 4, 5 contain some difficult rhythm.
Develope tenor and bass, moving in
thirds, sc. 3, 4. In these two parts the
octaves, sc. 4, m. 1, should be clear.
The 8, in its turn, must be developed,
sc. 4, m. 2. Bring out the ff at the
close, which is intended to give great
prominence to a repeated section.
IF I HAD BUT TWO LITTLE WINOB, p.
45. Melodic Expression, Ex. 216.
Musical Form, p. 146. Reflection, p.
132. Vowels " and u, p. 140. Melodic
Imitation in sc. 1, should be studied,
see p. 100. Give emphasis to d' m. 3,
and 1 m. 5. The bass part, m. 5, 6, ha;*
some serious difficulties. Chromatic
fe leaping up an octave and resolving
on f in ~8d. Tenors should use thi;
register at p. 47, sc. 4, m. 3, p. 3, to m. 4.
p. 4.
ANOEL OF HOPE, p. 48. How to pro-
duce humming accompaniment, p. 100.
To avoid the danger of flattening, get
the ii neon i puny ing voices to listen to th?
iiini.it. The Inn 1 -' sustained chords arc.
if themselves, difficult to hold in irooil
tune without this kind of sympathy
with the leading voice. Tenors shonli)
HINTS ON THE TUNES.
31,5
iwe the thin register wherever possible,
and the closed lips assist them to do so.
The rising passage, p. 49, m. 3, to sc. 2,
ni- 4, should be delicately sung in the
thin, so as not to obscure the solo.
TUB SPRING, p. 50. Musical Form,
p. 146. Excited emotion becoming
subdued, p. 133. The rhythm is va-
ried and difficult. Much practising
together is required for unanimous de-
livery of tafa-AI which is of very fre-
quent occurrence and is mingled with
various other difficult forms. The piece
abounds with melodial two-part passa-
ges, such as 8 and B, p. 51, sc. 2, where
care must be taken to get good blending
of these two parts while the C and T,
in unison, must be quite subordinate.
Tenors should use thin register on the
notes H' r' m', p. 51, sc. 2, 3, 4.
AT FIRST THE MOUNTAIN RILL, p. 53.
Growing impetuosity descriptive of
the gathering force of a stream, p. 133.
The descending melodies in 8 and T
alternately, starting each time a step
higher are very dramatic, and must be
commenced each one louder than the
last. Tenors require to use the thin
register for the higher notes in sc. 1, p.
54, and only first sopranos should at-
tempt m' a' f &c.. in sc. 3. The note
SO after f' is difficult. Other high
passages will be found for sopranos and
tenors in p. 64, sc. 5, and p. 55. sc. 1.
Notice the dissonance ' dp . See " How
to Observe," p. 115. Tenors should use
thin register in m. 2, p. 3, 4. Page 54,
m. 2,4, 11, 12, 18, 19, 21, 22, and corres-
ponding parts of v. 2.
O THE jov OF SPRING, p. 57. De-
velopment of a principal melody, p.
100. Gay and tripping style, p. 133.
Musical Form, p. 146. Pressure tones,
p. 103. Subordination of parts should
be attended to, see p. 100. Notice the
chromatic part-pulse dissonances, fe
and re, p. 57, so. 4, m. 2. See " How
to Observe," p. 119. The thin register
should be employed by the tenors in m.
7, 8, 9, and on all following notes higher
than s.
HOW LOVELY ARE THE MESSENGERS,
p. 58. Musical Form, p. 146. Vowel
u, p. 140. Appropriate speed and force,
p. 132. Bold and striking change of
sentiment, Ex. 258. Fugal passages, p.
148. The proper rendering of " parts "
in contrary motion, p. 99. Triumphant
joy requiring the sinsrer to dwell on the
notes, p. 132. Changing emotion -tri-
umph to repose Ex. 219. Let each
part study (in keys suited for each
voice) the melody which opens this
piece, and which becomes the subject.
See " Melodic Phrasing," p. 98. Only
first sopranos should sing the highest
part, which abounds in high notes, often
requiring small register. In pp. 59, 60,
the thin register is constantly demanded
from the tenors.
AWAKE, ^OLIAN LYRE, p. 62. Mu-
sical Form, p. 146. Smooth legato, p.
103. Downward rush of a stream, p.
99. The opening should have a well-
sustained cres. the last chord being cut
off sharply when the climax of force
has been reached. The ff in sc. 2 is very
important. Notice a little syncopation,
p. 63, sc. 2. The last movement spirit-
oso should have very marked accent.
Tenors should use thin register at the
second "awake," at p. 63, first five
measures of Largo, and in the ff close,
except the last note which may be in the
thick for the sake of effect.
WHERE THE GAY DREAMS, p. 65. A
series of cres. passages, rising each time
higher. Standard Course, p. 133. Attend
closely to the marks for cres. and dim.
as they are intended to give form to the
melody. Study " How to Observe Har-
mony," pp. 97, 101, 112, 113, for the
dissonant and chromatic chords *9D,
9 73, 9 4 fes, 7 feRE. Only first soprano
voices should attempt the phrase com-
mencing sc. 4, m. 2. Tenors must use
thin register on the notes r' f ' m in keys
C and D, sc. 3, 4.
THEME SUBLIME, p. 66. Study of
fugal movements, subject, counter-sub-
ject, &c., p. 147. Development of parts,
p. 148. Study of syncopated passages,
and emphasis in a melody, Ex. 227.
Fugal entry, p. 148. Form of pro-
longed tones, p. 100. Study of runs,
and their accompaniment, Ex. 226, see
also " Rapid Passages." p. 102. The
" subject " and its variations, see p.
148. Delivery of cadences, p. 103. A
very useful and invigorating practice
piece, which ought to be often used.
Study in " How to Observe," p. 103, the
discord 1 L. Tenors mark their books
for thin register in the following pas-
sages : First movement, m. 13-18.
Second movement, m. 10-12, 1 s f m.
Page 68, m. 11-15; score 5, m. 2-5.
Page 69, sc. 1, m. 3-6 ; sc. 4, m. 2; sc.
5, m. 2, p. 1 ; m. 4 to p. 70, m. 1, 2 ; sc.
2, m. 3, p. 2. All the s's in sc. 2, 3, 4 ;
p. 71, m. 2, 3. All the s's in sc. 2, 3,
and the whole of the last 2 meas.
THE WOODS, p. 71. Diverging senti-
ments in music and words. Gaiety in
music and sober reflections in poetry,
acting upon each other, p. 133. Struc-
ture of a part-song, p. 146. Dramatic
effect the fading away of a dream, p.
132. The vowel ee, p. 13. The normal
force (see p. 98) of this piece should be
p and the movement a gentle legato.
The second verse may be mf for the sake
of a little contrast, but the third must
resume the p, and the close should
be very soft and soothing. Study in
I "How to Observe," ?D, p. 103, I'D, p.
98.
HOME, O WHERE is THY BLEST HAVEN.
p. 74. The study of vocal accompani-
ment, p. 100, and Ex. 218. Passionate
utterance, explosive tone, p. 134, and
Ex. 257. Where the soloist is silent,
let the accompanying parts sing out
with fuller voice, see "Subordination of
parts," p. 100. Study in " How to Ob-
serve," <K, p. 104, *L, p. 95, 3R, p. 106.
<F, p. 104, 9D, p. 96, ?R (ornamentals)
p. 109, *L, p. 95. Tenor's to use thin
register on nT, p. 75, sc. 2, m. 2.
THE STOUT-LIMBED OAK, p. 77. Musi-
cal form of a glee, p. 146. Delivery of
cadences, p. 103. Delivery of bold
passages, Ex. 258. Unison passages,
p. 103. In the first movement of this
glee all the " parts " claim in turn to be
prominently heard. Notice in this way
8, sc. 2, m. 1 ; C, sc. 2, m. 3 ; B, sc. 3,
m. 3 ; T, sc. 4, m. 1. Then S and C to-
gether, sc. 4, m. 3 ; B, sc. 5, m. 1. The
two-part passages on p. 78 must have
both the voices perfectly together.
Tenors should mark for thin register
m. 3 ; sc. 2, m. 1, 2 ; the note nv, sc. 4,
m. 2 ; sc. 5, m. 2, to p. 78, m. 3, and all
the last phrase.
MORNING PRAYER, p. 79. Piano sing-
ing in unison, Ex. 230. See " piano
passages," p. 98, and "unison pas-
sages," p. 103. Structure of a part
song, p. 146. Solemn effect of ma
introducing or invoking p in all the
parts, p. 133. A shout of thankfulness.
Ex. 256. Notice in verse 3 an altera-
tion of the air, m. 8, 9 ; and of the
harmony throughout. The s' should
be sung by first sopranos only, and they
should be careful to give it in the small
register. The forte outburst at begin-
ning of each verse should be finely de-
livered. Especially the bass, which in
verses 1, 2, leaps an octave in the first
two notes, thus d |d'. The expression
is constantly varied, and should be
carefully studied. See " How to Ob-
serve," maFE, p. 113, de, p. H4, 7de
p. 115. Thin register should be used
by T in the phrase beginning at the end
of m. 9 ; in corresponding part of verse
2 ; also in fourth line of v. 3, p. 80, sc
5, m. 2.
YE SPOTTED SNAKES, p. 81. Musical
form the glee, p. 146. Legato singing,
p. 103. Soft and light staccato, p. 103
Sfortando for sudden exclamation, p.
133. Dramatic representation of terror.
Secure marked entry (although p) in
the syncopated notes, m. 5, 6, 7. The
two transitions, p. 83, sc. 2, need care-
ful practice, and still more does the
transitional modulation, p. 83, sc. 4,
and its return oa the chord de/<
316
HINTS ON THE TUXES.
i.Pieardy Third.) See "How to Ob-
serve," p. 114, and par. 98, p. 88.
Tenors use thin register, m. 6, p. 2, to
sc. 3, m. 1. Page S2, sc. 2, in. 1, p 3 to
m. 4 p. 1. Page 83, sc. 4, m. 2 ; sc. 5,
m. 2, p. 4 to m. 3, p. 3. Page 84, m. 4.
p. 2 to ic. 2, m. 4, p. 3. Beginning of
sc. 4 to m. 4, p. 3 ; and beginning of sc.
f> to in. 2, p. 2.
O SAVIOUB or THH WORLD, p. 85.
Musical form of the anthem, p. 145.
Prayerful utterance, Ex. 228. Increas-
ing force on repeated tones, p. 99. Im-
portant words to be made prominent,
& 1:1:1. Humble supplication, Ex. U60.
nison pass;iges pinao, pp. 98 and 103.
1'hi- transition to third flat, p. 86, sc. 1,
is ditticult, as it commences with an
upw.-iid leap of an octave in S, and of a
seventh in B. In the chromatic unison,
p. 87, sc. 4, nothing can help the singers
but a strong sense of the note s on
which the repented la resolves. Study
in " How to Observe." "F, p. 106, ~*K,
p. 78, <S. p. 103 Tenors should use
thin register on the word " 0," p. 85,
4C. 5, and p. 87. sc. 1.
TlIK SIIKPIIKKD'g LAMENT, p. 88.
Sf'irtandn tones expressive of prv innate
excitement, p. 133. Musical form of a
part-song, p. 146. pp in detached notes
expressive of Jeep sorrow, p. 132. The
rhythm of sc. 3 should be well practised
as a time-model of several passages
following. The whole piece depends
upon true intonation of chromatics.
Study such chords as ' ""'I/i, p. 89, sc.
6, in the lijrht of " How to Observe," p.
118. In the transitional modulations,
p. 90, practise each part separately,
then two or more parts combined, and
finally altogether in ilnto time. Study
in " How to Observe," i niaLA, p. H8,
n FEA, p. 118. Tenors should use thin
register on the four last notes, sc. 1, and
on a similar passage, p. 90. sc. 4, m. 2;
also on the triplet, p. 89, sc. 1, m. 3.
SAVIOUR, RKKATIIK AX KVKNlNl) B1.KS8-
ixo, p. 91. Subordination of parts,
Ex. 216. Solemn thought*. Kx. 260.
Melody transferred to different parts,
p. 10O. Expression of a sense of satVl y
in God's care, Ex. 257. Study the
normal force of this piece. The time
must be firmly kept, without drawling.
In the transition to fourth flat minor,
p. 92, m 4, the first chord has been
already KUIU:, which lessens the difli-
culty. Watch all the distinguishing
tones as they appear. Look to the
tenor, sc. 3. m. 1, 2. Study in "How
to Observe," <K, p. 103, > f-ll, p. 68,
<D, p. !7, >aD. p. 116.
Louu THK STOIUI WIND, p. 93. Sub-
dued description changing to the ex-
citement of terror, p 13H. The repre-
sentation of calm after storm, Ex. 260.
Form of repeated tones. Ex 214. See
ditticult intervals in S, p. 94, sc. 2, m.
1, 2, sc. 6, p. 1 (the latter will be most
easily got by making the transition on
previous note, "S.) Practise wull thi
p, eria., /, p. 93, sc. 1, 2; page 94.
sc. 3, 4. Try the parts separately at p
95, sc. 4. Pint sopranos nnly should
sing the highest part in this piece,
using the " small register " for re m
p. 94, sc. 4. The continuous liiyh
passages, like that at page !'.">, sc. 2, 3.
4, are very trying, and good intonation
is impossible if any but pure .;/>*.
soprauoe take that part. Study tin
many discords and chromatic chords in
the 12th and l;!th steps of "How to
O'oserve." On p. 93 will be found '*/:.
On p 94 IT, 7 iy ,</<. re/ , 4 baj/. On
p. V\ ' f''B
INDEX
For Index to Music see page 320, at end.
> Lip
, Table of English...
, Tip-tongue
Ascending passages
PAGE
Accent, cadence, and the over-fifth,
Effect of S3
.Medium 18
or stress 6
and pulses in speech 63
Accidentals 88
.Rare 88
Accidental sharps and flats 160
Accompaniment, Humming 100
Adjacent keys in transition 50
Advanced rhythms 177
transitions 107
Agility of voice 151
Analysis, Parsing or, of musical
form 70
Anthems 145
Anticipation tones 68
Appoggiatura 155
Articulation, An 60
error exercises 62
exercises 62
.Modes of 60
, Organs of 60
-, Qualities of an 60
-, Double 60
.. 60
.. 61
.. 60
..99
Aspirate H^ The" 60
Attack and release 95
Bass. First and second 109
Beating time 7,65
Beating twice to the measure ... 24
Blending of registers 67
Boys' voices 107
Brackets 8
Break, Sol-faing the 110
, The lesser 107
Breath, the proper management of 2
Breathmess 95
Breathing places 9,16,30,149
Bridge-tones 51
Cadences 48,69,103
Cadence and the over-fifth, Effect
of accent 83
Cadence transition 52
Cadential movement of the bass, The 52
Canon, The 146
Cantata, The 149
Chant, The 144
Chanting 27,35,47,63,83,93
, Division of words for 35
, Teaching 36
Chest, klang, tuning... 14, 26, 45, 81, 117
Choral contrivances 149
St. Co.
PAGE
Chord, A 4
exercises 5
relation 87
D .. 20
20,
.78 46,48
F...
R
7R
L.
m
M
, Ambiguity of 46
, Constitution of 27
, Disguised and chromatic ... 83
, Major, minor, & diminished 46
, Mental effects of 44
, Positions of 26
, The two principal 20
Chromatic chords, Disguised and... 83
effects 52
tones 160
, stepwise motion ...160
, leaps 160
, transitional models... 161
, Intervals 161
resolutions 83,104
Classification of voices 29
Collective reading 15, 63
Compass of voices 29,109
Congenial tones 101
Consecutive fifths 84
Consonances 36
Consonant, How to sing a 61
Constitution of chords 27
Continued tones ... 7
Contralto 108
C position of chords 48
C', Remembering ' ... 29, 59
Crescendo 97
Degrees of force
Descending passages
Dictation 12
exercises fifth step .
Diminuendo
Diphthongs 142,
Discords
Disguised and chromatic chords ...
Dissonance of r against d
of / against
Dissonances 68,
Anticipation tones
Forestrokes
Full-pulse
Guiding tones
Hanging tones
PAOR
Dissonances, Part-pulse 08
, Passing tones <> s
Distant removes i:><i
Distinguishing tones 50,10:5
Dominant, Tonic and -0
Double articulations ... .. 60
Double-bars .
Doubling and omission of root,
third, and fifth 27
Doric or ray mode, The 85
Duain ., .. 69
Ear exercises
, exercises, Time
12,24
Eighths of a pulse
Elementary certificate
graded time exercises . . .
42
42
110
42"
109
185
61
14!)
62
97
, 94
133
131
131
133
131
132
131
131
132
9&
132
133
132
133
132
133
132
132
131
xi
162
53
Fah and Lah, Mental effects of ... 28
, The chord of 45
Fifth, Omission and doubling ... 27
and fourths 21
transitions
Enunciation exercises
Equal voices, Music for
Error exercises
Explosive tones, Pressure and
Expression 8C
, Dramatic effect ... 131, 132,
, Excited emotion
exercises ... 132,
, Gaiety
, Gladness
, Grand ideas
, Joyful praise
, Loud and quick
, Loud and slow
marks
, Meditation, description, or
repose ...
, Playful cunning
, Sadness
, Soft and quick
, Soft and slow
, Soft to loud
. Subdued emotion
.Worship
-, Unnatural straining after...
Extended mod dator.,
, Use of .
transition.
step 81
Finger signs for time vii
First step 1
Flats first presentation ...
Flattening, Causes of
Force, Application of
... 109
... 97
: , De'grees of 96
318
MM
Force, Effect of speed and 130
Forestrokes, Horizontal 68
Oblique 68
Waving 68
Unprepared 68
Forte passages 98
Four-pulse measure 18
Fourth step 46
Fourths, Fifths and 21
Fugal passages, Parsing 104
Fugue 147
, Counter-subject 147
, Organ points or pedal ... 147
, Response or answer 147
, Stretto 147
, Subject, The 147
Full-pulse dissonances 69
Glee, The 146
Glide, The vowel 61
Glottis, Shock of the 1
Good tone 1
Grave Ray, The 46
Guiding tones 68
H, The aspirate 60
Half and two quarters 84
Half-pulses ; 7
Half-pulse, The silent 84
Hanging tones 68
Hold, The 28
Horizontal forestrokes 68
How to sing a consonant 61
Humming accompaniment 100
Hymn tunes 144
Imitation 86
Imitative sounds 101
Imperfect method, The 63
Impurity of tone 2
Intermediate graded time exercises 173
transitions 189
Intervals, Chromatic 161
Inversions of intervals 21
Key-tone 8
Klang exercises 117
Laaing 8
Laa voluntaries 87
Lab and Fah, Mental effect of ... 28
, The chord of 46
Larynx, Training the 8
Legato 97
Lesser breaks, The 107
Lip articulations 60
Loud and quick 131
and slow 132
Lower thin register, Recognition of 33
thin register, Strengthening
of the 83
M. 60, remembering 84,66
Madrigal, The ... 146
IXDEX.
Manual signs viii
Marked entrance 100
Measure 6
Mechanism and feeling of the
registers 107
Mechanism of the vowels 136
Medium accent 18
Melodic imitations 100
phrasing 98
Melodic tendency to transition ... 60
Memorising the three keys 77
Memory patterns 77
, Pointing from 77
singing 77
, Writingfrom 77
Mental effect viii, 4, 15
effect and speed of movement 28
effects of transition 61
effect of tones changed by
transition 60
Me, The chord of 46
Metronome, The 33
Minor mode phrases 205
chords and ' 8, Constitution of 48
Minor mode, Difficult intervals in 161
exercises 87
. The modern 86
Missed Transition 63
Modes of articulation 60
-, The 84
Modulation ... .
, Transitional !!. 88
Modulator x, 9, 117, 123
.Extended xi
teaching, Importance of, in
transition 63
voluntaries 11,42,77
Modulators to illustrate transition 50,51
, transition, How to construct 60
, Voice 106
Motion of parts, Relative 86
Muscles at the sides of the lungs,
Training the 8
Musical expression, Exercises in ... 100
Musical form 69
, Anthem 146
, Canon 146
, Cantata 149
, Chant 144
, Fugue 147
, Glee 146
, Hymn tunes 144
, Madrigal 146
, Opera 148
, Operatic chorus 146
, Oratorio 149
, Oratorio chorus 146
, Parsing or analysis of ... 70
, Part-song 146
, Recitative 148
, Response 144
Music for equal voices 149
Names and signs 3
Natural voice, The 156
Ninths of a pulse 110
Major, minor, and diminished Normal force
chords 46 ' Notation of transition
St. C
51
PAOB
Oblique forestrokes 68
Octave marks 29
Octaves and unisons 21
or replicates 5
Omissions and doubling of root,
third, and fifth 27
Opera, An 148
Operatic choruses 146
Optional tones 32
, Recognition and man-
agement of 68
Oratorio, The 149
choruses 146
Organ tone 97
Organs of articulation 60
Oscillating transition 117
Over-fifth, Effect of accent, cadence,
and the 83
Parsing, Examples of 70
fugal passages 104
or analysis of musical form 70
Partial dissonance, The 36
Part-pulse dissonances 68
Parts, Exchanging 5
, Naming of 30
, Subordination of 100
" Parts," Voices and 108
Part-song, The 146
Passing tones 21, 68
transition 53
Pattern 3,19
Perfect method, The 61
Periods, phrases, sections 69
Phrases, sections, periods 69
Phrasing of words 136
Piano passages 98
Pitch 3
Pitching tunes 29, 69
Ph^rtil cadence 48
Pointing from memory ... 12, 24, 77
on the modulator 87
Portamento 150
Position in singing 2
of chords 26
Precentor, Hints to the 94
Pressure and explosive tones ... 97
Principal chords, The two 20
Prolonged single tones 99
Pronunciation exercises 62
Public speaking/Pulses and accents
in 63
Pulse-and-a-half tones 18
Pulses 6
and accents in speech 63
, What is a 64
ftuadrain 69
Qualities of an articulation 60
Quarter-pulse, The silent 64
tones 18
Questions, First step 13
, Second step 26
, Thirdstep 43
, Fourth step 78
, Fifth step 114
.Sixth step 167
R', The trilled 60
Rapid passages 102
Rare accidentals 88
divisions of time 110
Rate of movement, Sustaining the 33
Ray mode, The done or 85
Ray, Te, Mental effects of 16
, The chord of 46
, The grave 46
Recitation 69
, Arranging 93
Recitative 148
Registers 31, 66
.Blending of 67
, Exercises for strengthening 67
, Mechanism and feeling of
the 107
, Recognition of the first or
thick 67
, The small 105
, Speaking 107
, Strengthening the thick ... 67
Relative motion of parts 36
Release, Attack and 95
Remembering C' 29,59
Repeated tones 99
Replicates, Octaves or 6
Resolution, Chromatic 83
Resonances, The 149
Response, The 144
Returning transition 61
Rhythm 6
Root, Omission and doubling ... 27
Rounds 16
Saaandsai 34
Safatefe 64
Scale of English vowels 137
of pitch, The standard ... 26
,The 28
. The steps of the 48
Second step 14
Sections 48,69
Seven-ray, The chord of 47
Seven-son, The chord of 46
Sforzando 97
Shake or trill, The 155
Sharps, first presentation 160
Sight-laaing 77
Signature of transition 51
Signs, Names and 3
Silent pulse 18
quarter-pulse 64
Single tones, Form of 103
Sixth step 117
Sixths and tenths, Thirds 21
8ixths,eighths,andninths of apulse 110
Soft and quick 133
Soft to loud... ... 133
INDEX.
PAOK
Sol-faing the break 110
Soprano, First 103
Small register, The 105
Speaking in time 7
Speaking registers 107
Speed and force, Effect of 130
Speed of movement and mental
effect 28
Staccato and detached tones 97
Standard scale of pitch, The 28
Steps of the scale, The 48
"Strain" 69
Strength of voice 153
Subordination of parts 100
Surprise cadence 48
Swell, The 97, 155
Syncopation 34, 103
TAAfe 34
Taatai 7
Taata-ing 7
in tune 10
Taatai taa 34
Taataitee 64
Taatefe 34
Table of English articulations ... 61
Tafatese 64
Te and ray, Mental effects of 28
, The chord of 46
Tenor, First 108
Tenths, Thirds, Sixths and 21
Thick register, The 67
Strengthening the 67
Third, Omission and doubling ... 27
Thirds of a pulse 64
Thirds, sixths, and tenths 21
Third step 26
Three-pulse measure 7
Three-quarter-pulse tone, The ... 34
Three removes 123
Timbre 1
Time 6, 18,33,64
and rhythm 6
chart x
laaing 8
names 6
, Rare divisions of 110
Tip-tongue articulations 60
Tonic and dominant 20
Training the muscles at the sides
of the lungs 3
Transitional modulation 88
-, Adjacent keys in 50
Transition, Cadence 50
, Distinguishing tones of ... 50
, Distant removes 130
, Extended 53
, Importance of modulator
teaching for 63
Transition, Introductory lesson
, Melodic tendency to ...
, Mental effects of...
319
50
61
, Missed 53
, Modulators to illustrate 50, 51
, Notation of 61
of one remove, Exercises in 52
, Passing 63
, Perception of 49
, Returning 51
, Signature of 51
, Three removes 123,124
, Two removes 117,118
Triain 69
Trill, The shake or 155
Trilled Ri, The 60
Tritone 48
Time 3, 8, 15, 20
Tune-laaing 8
Tunes, Pitching 29,59
Tuning exercises ...14, 26,45, 81, 117
Turn, The 156
Two part singing 8
pulse measure 6
quarters and a half 34
removes 117
Vocabulary of musical terms 163
Vocal klang, Production of pure ... 3
exercise 14
Voices and " parts " ............ 108
Voice, Agility of ............ 151
Voices, Boys' ............... 107
- Classification ............ 29
-- Compass of ............ 29
-- Delivery of the ......... 95
-- Downward cultivation of ... 155
- Examination of ...... 81, 108
modulator ............ 106
............
-- , Quality of ............ 1
-- training ... 1, 2, 14, 46, 81, 150
training exercises ...... 151 , 153
, Strength of 153
Voluntaries, Laa 37
, Modulator 42
Vowels 136
Exercises 137,142
Fifth group, UO, O 141
First group, AA 137
Fourth group, U, A, E, I ... 139
Mechanism of the 136
Scale of English 136
Second group, AU, OA, OO 138
Third group, Al, EE 139
Waving forestrokes 68
Words, Phrasing of 135
Writing exercises 12
from memory 12,24,77
St. On-
320
INDEX TO STANDARD COURSE EXERCISES.
HO. PAOK.
78 A hale old man 22
99 All the springing- flowers 31
172 Amen. Alkrechtsberger 72
114 Aniun. Moinzer 39
178 Ami I heard 82
119 Art thou poor 41
193 Assyrian came down, The 91
123 Behold how good 47
115 Bird of the wilderness 39
140 Blest be the hour 66
191 Christian's parting word, The 90
255 Come Fays and Fairies 128
80 Come gentle May 23
137 Courage 64
173 Cuckoo, The 72
79 Daisy, The 23
137 Dangers do not dare me 64
193 Destruction of Sennacherib.The 91
101 Doh, ray. me 32
192 Drive dull care away 91
188 Farewell, my own native land.. 88
194 Far, far from home 92
78 Farmer John 22
195 Fonrive thine enemy 93
70 Fret not thyself 17
2?*'} Give unto me Ill
103 Olad hcitrU and free 32
68 Gone is the hour of Sonjr 17
no. PAOK.
247 Goodnight 121
143 Great is the Lord 57
171 Hallelujah, ifninzer 71
117 Hallelujah. Sfninter 40
141 Hallelujah. Xatnrp 56
118 Hallelujah, Amen. Mainzfr ... 40
173 Hark ! 'tis the cuckoo's voice... 72
177 He is despised 8-'
125 Ho, every one that thirsteth ... 47
246 Holy. Holy 12T
170 Hosannah 71
145 I love my love 68
116 In sweet music 40
194 Jewish Captives, The 92
98 labour's strong and merry 31
191 Let me go JO
79 Little flower with starry brow . 23
136 I/ ! my Shepherd's hand 54
124 The Lord bless thee 47
179 I/ord have mercy upon us 83
133 Lord, while for all 52
235 Love thy neighbour 112
100 Lullaby 31
251 Lullaby, The 124
174 Maytime. The 73
67 Morning bells 17
252 Music or the Spheres 125
248 Night song 122
.
126 Now unto him that is able 47
144 O'er the dark wave of Gallilee 58
111 Oh! give thanks 37
245 Oh! I'm the boy 119
139 O little child lie still 55
248 On the woods 122
135 O Saviour, go beside us 64
189 Our life is ever 89
251 Peaceful slumbering 124
112 Peace, lovely peace 37
134 Praise to God 63
234 Praise to our God 112
113 Praise ye the Lord 38
65 Scotland *s burning 16
175 The sea for me 75
66 Sing it over 16
115 Skylark. The 3!)
253 Sound the loud timbrel 12H
69 Sow in the morn thy seed 17
252 Stars are given us 126
190 Summer is gone 89
97 Sun of my soul 30
120 Tell me where the Fairies dwell 41
142 Through the day 57
254 True love 127
145 WhatisthemeaninfjoftheSong! 58
77 When lands arc ffone 22
120 Where do the Fairies dwell .' ... 41
102 Who comes laughing 32
INDEX TO ADDITIONAL EXERCISES.
Angel of Hope
At first the mountain rill .
Awake, jEolian Lyre
Away to the forest
Bon accord
Chants for Third Step
Chants for Fourth Step....
Chordal Exs. First Step .
Come, Freedom's sons ....
Come, let us all
Cuckoo, The
Father, my spirit owns
Fortune hunter, The ....
Gipsy's tent, The
God speed the right
Going home
Hallelujah, Amen ...
Harvest home
Hear me when I call
Heaven is my home. . .
r*oi
264
269
278
267
227
216
216
209
229
240
225
250
220
251
217
218
242
255
233
215
Higher will we climb
Home, O where is thy
Hope will banish sorrow
How beautiful the sunshine...
How lovely are the messengers
If I had but two little wings
Jackson's Evening Hymn
Lord, in this This Thy mercy's
Loud the storm wind
May is coming
May-time, The
Morning Prayer
Music in the valley
My lady is as fair as fine .
Nearer, my God, to Thee
Night around
O Saviour of the world...
O the joy of spring
FAOI '
212
290
228
228
618
261
218
249
309
"15
221
296
211
237
250
238
301
273
Quail Call, The
Rise, my soul, adore thy Maker
Saviour, breathe . .
Shepherd's lament, The...
Spring, The
Spring life
Stout-limb'd oak, The ...
Sunshine after rain
Sweetest, fairest
Sweet summer-time
Swi-11 the anthem
Swiftly from the mountain's
Theme sublime r ~.
Thou shall show me
Time for joy, The
Waits, The . ..
We fly by night
Where the gay dreams . . .
Woods, The
Ye BDOtted snakes ...
307
304
26i
21!>
293
260
214
210
209
245
282
223
231
224
236
281
287
297
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THE CALL TO SONO [Jd.l 4d.
A pocket edition of the " Educational Music Charts,"
with an appendix of Voice Kxercises, Elementary
Rhythms, Certificate Requirements, &c.
For Infant Schools.
TH FIRST LINNET [Jd.] 3d. | THE SECOND LINNET [Jd.] 4d.
For Junior School*.
THE IRISH TONIC SOL-FAIST [Id.]
GRADED ROUNDS [id.]
THE FIRST BLACKBIRD
TI [Jd.
YOUNO VOICES, Parts I to HI f Jd
THE ROYAL SONGSTER
[Jd.]
, Part
VTI
ON THE TONIC SOL-FA METHOD.
The postage is given in brackets ; those marked can also be had in penny numbers.
The Standard Course. s. d.
The Complete Work, in cloth [3d.] 8 6
The Six Steps (instructions) [2d.] 1 6
The Exercises. Rhythms, &c., are also sold separately at
prices from Jd. upwards, according to size.
Elementary Courses for Mixed Voices.
WITH INSTRUCTIONS AND TUSKS.
The Sunday School Singer [Jd.] 6
The Elementary Secular Course [Id.] 6
The Elementary Sacred Course [Id.] 8
WITH EXERCISES AND TUNES ONLY.
THE SONO PRIMBR fid.] 4d.
A new course with exercises in unison and two-parts. A
short cut to the Elementary Certificate. Concert pieces not
provided. Aims at thorough drill. Pocket size (crown 8vo.)
and stout cover.
VOICES IN SONO [Id.] 6d.
The latest course. The exercises are varied and compre-
hensive, and the pieces are carefully graded. In addition to
other improvements, a number of specimen sight-tests are
given for practice.
THE CHORUS SCHOOL [Id.] 6d.
Comprises several improvements on previous courses, and
a large number of interesting exercises and pieces.
THB SONO HERALD [Id.] 6d.
Contains rounds, solfeggios, anthems, part-songs, elemen-
tary rhythms, &c., carefully graded.
CHOIR TRAINING [Id.] 6d.
The music is rather in advance of the other courses. The
illustrative chants are a feature of this book.
THE CHORAL SINOBR [Id.] fid.
A very popular course. Includes ninety-three exercises,
rounds, part-songs, anthems, time and expression studies,
illustrative chants, and the "Elementary Rhythms."
THE SINOINO CLASS [Id.] 6d
Contains several very popular anthems and secular pieces.
HOUBS or SONO [Jd.J 4d.
Shorter than the preceding courses. Has rounds and
graded exercises.
VOCAL HARMONY [Id.] 4d.
The same length as " Hours of Song." Has proved a
favourite course.
THE TEMPERANCE COUBSE [Id.] 6d.
This course now contains eighty part-songs, anthems,
rounds, and exercises, all carefully graded according to the
steps of Mr. Curwen's method.
THE TEMPLAR'S COURSE [Id.] 6d.
Containing a course of exercises, with Temperance part-
songs, rounds, anthems, and choruses. May also be had in
three 2d. numbers.
QBA.DBD SIGHT TESTS [Id.] 6d.
A series of part-songs arranged according to the steps of
the Tonic Sol-fa method for practice in sight-singing.
Elementary Courses for Schools.
WITH INSTRUCTIONS AND TUNES.
THE ACADEMY VOCALIST, Parts I and n [ld.1 each 6d.
Suitable for High Schools, Academics, Middle Class and
Private Schools. Part I comprises instructions for 1st to 3rd
Steps. Part 1, comprises 4th Step, including Transition,
Six-pulse Measure, &c.
PUPIL-TEACHER'S ELEMENTARY CLASS BOOK [Id.] 4d.
THE PUPIL'S MANUAL [Id.] (Cloth, 9d.) 6d.
Ninety-one Exercises and Tunes in two-parts, with
Rhythms and Bugle calls, and questions to be answered
orally or in writing.
LONDON : J. CURWEN & SONS, 8 <b 9 WARWICK LANE, E.G.
CODE Music DRILL, Parts I and II [Id.]
For Senior Schools.
THE SONG PRIMES [Jd.]
ed.
3d.
2d.
Id.
each I'd.
each 2d.
4d.
THE FIRST NIGHTINGALE [id.] 3d.
CODE Music DRILL, Parts III and IV [Id.] each 2d.
CROTCHKTS AND QUAVERS, O.N., Pts. m & IV [Id.] each 3d.
SONGS AND TUNES FOB EDUCATION [2d.] is.
In cloth [2d. ], Is. 4d. First Course [Id. for 3], 3d. Second
Course [Id. for 8], 4d.
THE SECOND HIGH SCHOOL VOCALIST [Id. for 3] 4d.
THE THIRD HIGH SCHOOL VOCALIST (Advanced) [Jd.] 6d.
THE FOURTH HIGH SCHOOL VOCALIST (Advanced) [Id.J 8d.
ARRANGED REPORTERS, No. 1 [Id.] 6d.
Intermediate Courses.
INTERMEDIATE CLASS BOOK I Id.] 6d.
For pupils preparing for the Intermediate Certificate of
the Tonic Sol-fa College.
INTERMEDIATE TBAININO [Id.] 6d.
Intended as a connecting link between the Elementary
Class and the Choral Society.
THE INTERMEDIATE SECULAR COUBSE [Id.] 6d.
THE INTERMEDIATE STANDARD [Id]. 6d.
Introductory Exercises.
INTRODUCTORY EXERCISES, No. I [Jd.] Jd.
Rounds and two-part exercises, as far as the Fifth Step.
INTRODUCTORY EXERCISES, No. II [Jd.] Jd.
Intended for psalmody purposes.
INTRODUCTORY EXERCISES, No. Ill [Jd.] Id.
Double the length of the preceding.
THE SHORT COURSE [Jd.] 2d.
Its speciality is that all the exercises and tones are
printed in both old and new notations.
The first Number (Id.) of " The Choral Singer,"
" Hours of Song," or " The Singing Class," will also serve
as introductory exercises.
STANDABD WOEKS ON MUSIC.
BOY'S VOICE, THE. By J. SPENCER CURWBN.
Price 2/6 ; postage 1 Jd. A book of practical informa-
tion for choirmasters, with hints from choir-trainers.
CANDIDATE IN MUSIC, THE. By H. FISHER,
Mus. D. Price, in paper. 2/- ; in cloth, 2/6 ; post. Ijd.
A text-book of Musical Elements for students.
CHORAL SOCIETY, THE. By L. C. VBNABLES.
Price 3 - ; postage 2jd. A book of practical hints and
experiences for the use of Conductors, Secretaries, &c.
COMPANION FOB TEACHERS. By J. 8.
CUBWEN. Price I/-; postage lid. This work gives the
school teacher all necessary information on the Tonic
Sol-fa system.
COMPENDIUM OF HARMONY. By Oo.
OAKKV, Mus. B. Price2'-; postage 2d. Comprises the
subject matter of the first half of the author's " Text-
book of Harmony," the examples in Sol-fa only.
FIGURED BASS. By Gto. OAKIT, Mus. B. Price,
limp cloth, I/- ; pontage Id. Explains figured bast in
modern harmonies, and epitomises harmony.
HANDBELL, RINGING. By C. W. FLETCHER.
Price '2/6 ; postage 2d. Explains the method on which
the ' Criterion " Handbell Kingers play ; shows how to
organise and train troupes of handbell ringers, and gives
exercises and tunes arranged for the bells.
HANDBOOK OF ACOUSTICS. By T. F.
HiHHis, B.8c.,F.C.8. Price 4. 6; postage 3d. A hand-
book for the use of musical students.
HOW TO EARN THE MUSIC GRANT. By
AM INSPSCTOB or SCHOOLS. Price 4d., 8ul-fa.
HOW TO OBSERVE HARMONY. By JOHN
CURWEN. Tenth edition with appendix. Pnoe 2/-;
postage 3d.
HOW TO READ MUSIC. By JOBS CURWEN.
Twenty-four chapters, pp. 128. Eighth edition. Price
Is. ; postage l|d. Teaches sight-Hinging by the Tonic
Sol-fa system, then applies the knowledge gained to the
Old Notation, and teaches that thoroughly.
HYMN LOVER, THE. By the Her. W. OARRETT
BORDER. Price 7,6 ; postage 4jd. An account of toe
rise and piogices of English Hymnody.
MANUAL OF ORCHESTRATION. By HAMIL-
TON CLARKE, Mus. B. With Appendix. Price 2/-;
postage 2d. Gives much information that will help
young conductors and enable amateurs to listen intel-
ligently to the playing of an orchestra.
MECHANISM OF THE HUMAN VOICE.
By EMIL BEHNEE. Seventh edition, enlarged arid
revised. Price, cloth, 2/6; paper, 1/6; postage 2d.
Illustrated.
MEMORIALS OF JOHN CURWEN. By his
son, J. SPENCER CUBWKN. Price 2 - ; postage 8d.
MUSICAL INSPECTION, and How to pre-
pare for it, The. By A SCHOOL INSPECTOR. I'rio*
1/6; post. 2d. Lessons and instructions on the Tonic
Sol-fa method, for teachers in elementary schools.
MUSICAL PROFESSION, THE. By H. FISHER,
Mus. D. Price 6/- ; pontage 4 jd. Contains advice for
music teachers in every department of the art.
MUSICAL SELF-INSTRUCTOR. By J. SNRD-
DON, Mus. B. Price 3 - ; postage lid. Both notations.
Self-help in musical elements and vocal practice.
MUSICAL THEORY. By JOHN CURWEN. Price
8/6 ; post. 8d. Or in parts I, 4d. ; IL 4d. ; HI, 1/4 ;
IV, 4d. ; V, I/-. All tie musical example* are given in
K>U notations.
MUSICIANS OF ALL TIMES. Compiled by
DAVID BAPTIE. Price 3/6. A biographical handbook
of composers, &c., containing nearly 12,<JOO nam^,
ORGANS, ORGANISTS, AND CHOIRS. By
E.MINBHALL. Price 1/6 ; post. Ijd. Hints and sugges-
tions for all interested in Nonconformist Church Music.
PRONUNCIATION FOR SINGERS. By A. J
ELLIS, F.R.8. Price 4/6 ; postage 4d.
SCHOOL MUSIC TEACHER, THE. By J.
EVANS and W. O. McN AUUIIT. Third edition, revised
and enlarged. Price 3 - ; postage 3d.
SHORT DICTIONARY of MUSICAL TERMS
By ARNOLD KENNEDY, M.A. Price I/-, postage Id. ;
cloth, 1/6, postage 1 Jd. Includes about 2,700 terms.
SINGING IN ELEMENTARY SCHOOLS.
By A. W ATE i ss. Cloth, I/- ; postage Id.
SOLO SINGER, THE. By SINCLAIR DUNN. Price
1/6 ; postage Ijd. A handbook giving hints to those
who desire to become solo singers.
SPECIMEN LESSONS on the TONIC SOL-
FA METHOD. Edited by J. SPENCER CURWEN. New
and enlarged edition. Cloth limp, 1/6 ; post. Id. Con-
tains specimen ttrst lessons on Time, Tune, Transition,&c.
STAFF NOTATION PRIMER, for Tonic Sol-fa
Pupils. Price 6d. ; postage Id. Size and style of
" Musical Theory," with 69 exercises.
STANDARD COURSE, THE. By JOHN CURWBN.
Ninth edition of the re-written work. Price 8/6 : post
3d. Lessons and exercises on the Tonic Sol-fa Method.
STUDENT'S MUSICAL HISTORY. By H.
DAVY. Price I/-. In handv, popular, and modem
style. A record of all the landmarks of musical history .
STUDIES in WORSHIP MUSIC, First Series
By J. B. CUB WEN. Second edition, revised and enlarged.
7/6 ; postage 4jd. Contains articles and information
on various matters relative to Worship music.
Studies in Worship Music, Second Series.
By J. 8. CUBWBN. Price a/- ; postage 2jd. A continu-
ation of the above work.
TEACHER'S MANUAL, THE. By JOHN
CUHWEN. Fourth edition. A maniml of the Art of
Teaching in general, and especially as applied to music.
Price &/- ; postage 6d.
TEXT-BOOK OF COUNTERPOINT. Sixth
edition. By OBO. OAEEY. Mus. B. Price 2/-, cloth ;
post. l|d. All the examples are given in both notation*.
and a set of subjects for exercises are given at the end.
TEXT-BOOK OF HARMONY. By OEO. OAXEY,
Mus. B. Fifth edition, price 3/- : postage 2jd. Seven-
teen chapters, with about 160 Graded Exercises. All
examples in both notations.
TEXT-BOOK OF MUSICAL ELEMENTS.
By OEO. OAEXY, Mas. B. Price, in paper, I/-; cloth,
1/6 ; post. l^d. All the usual topics arranged on anew
plan, with an Appendix of questions and exercises.
TRAINING COLLEGE MUSIC COURSE.
By E. MILLS. Mus. B. Price 3/- ; postage 2jd. O.N.
Course, Vocal and Theoretical, to prepare directly for
the various Examinations.
UNITED PRAISE. By F. O. EDWARDS. Price 8/6 ;
postage 3d. A practical handbook of Nonconformist
Church Music.
LONDON : J. CURWEN & SONS, 8 & 9 WARWICK LANE, E.G. *,,
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